Glenn chose the title from a conversation with Tamika Palmer, Taylor’s mother and—as Glenn describes—the exhibition’s key stakeholder. To develop the exhibition, Glenn convened an advisory panel of artists and filmmakers, arts administrators and historians, and relatives of Alton Sterling and Trayvon Martin. She worked alongside additional members of Taylor’s family, a Steering Committee of Louisville community members, local and national artists, and the Speed Art Museum staff to strike the right tone for this massive undertaking.
Left: Sam Gilliam, Carousel Form II, 1969, acrylic on canvas, 120 x 900 in. Right: Lorna Simpson, Same, 1991, 16 color Polaroids in four frames with 11 plastic plaques. Photo: Bill Roughen