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196 / Notesof Sam Putnam, Joe Gould, and Kenneth Fearing, and which Neel herself reviewedfor the Daily World. Alice Neel, “WPA Writers Project Seen as Success, DespiteRightists,” Daily World, November 11, 1972. She was included in importantexhibitions such as the extensive “New York City WPA Art” at the Parsons Schoolof Design in 1977, Patricia Hills’s “Social Concern and Urban Realism” in 1983,and “Women Artists of the New Deal” at the National Musem of Women in theArts in 1988. She was also included in exhibitions of the politics of the 1930s to the1950s: Irving Howe’s “Images of Labor” (1981); Philip S. Foner and ReinhardSchultz’s “The Other America: Art and the Labour Movement in the UnitedStates” (1985, Germany); and Rob A. Okun’s “Unknown Secrets: Art and the RosenbergEra” (1988). The Foner-Schultz exhibit included Nazis Murder Jews, UneedaBiscuit Strike, and Pat Whalen.91. Typescript (undated) by Anton Refregier of Foreword to catalog of “AmericanArtists Gift Exhibition.” ACA gallery papers, Archives of American Art, D304, 1093.Among the artists in the exhibition were Anton Refregier, Philip Evergood, FredEllis, William Gropper, Frank Kleinholz, Joseph Hirsch, Alex Dobkin, Sarai Sherman,Abram Tromka, Antoney Toney, Mervyn Jules, Charles Keller, RockwellKent, Raphael Soyer, Abraham Harriton, Moses Soyer, Philip Reisman, MorrisKriensky, Gerrit Hondius, Gladys Rockmore Davis, Nicoli Cikovsky, Neel, HarryGottlieb, David Burliuk, and Paul Sample. Neel’s statement for the brochure emphasizedher Spanish Harlem work: “I live . . . in a neighborhood where there aremany Puerto Ricans and I have painted many pictures of them. I have painted theold and the young, the young writers and poets, and the working people” (3).92. From the Moscow Writer’s Union in 1959 he wrote: “You asked me to tell you thereal truth about the U.S.S.R.—as far as I am concerned, I am quite at home here.”Neel correspondence, Neel Arts, New York City.93. For example, Eva Cockcroft, 1974; David and Cecile Schapiro, 1977; Serge Guilbaut,1980; the authors are not speciƒcally cited, however. [Philip Bonosky, Introduction],“Alice Neel,” exhibition catalog, Soviet Artists Union, July 9–31, 1981;trans. Thompson Bradley (Russian to English), typescript, Neel Arts, New York City.94. In her interview with Susan Ortega, Neel echoed Bonosky: “The Soviet Unionwants peace and friendship and Brezhnev has offered any number of times to talk tothis country . . . This country is now warlike and a threat to the world. Reagan saidthe government doesn’t owe anybody anything. In the Soviet Union you get freemedical care—everything is free. There the government owes you everything.” SusanOrtega, “Art for Detente,” [1981], Daily World. Neel scrapbook 4, Neel Arts,New York City.95. An editorial, “United, Multinational,” published in Pravda on May 19, anticipatedthe tedious speechmaking that would take place six weeks later at the Seventh RepublicWriters Congress at the Writers Union, which coincidentally opened onJune 30, one week before Neel’s exhibit opened at the Artists Union. As articulatedby Georgiy Mokeyevich Markov, ƒrst secretary of the USSR Writers Union: “Thesphere of artistic creativity is an arena of keenest ideological struggle . . . True patriotsof their socialist homeland, our literary and artistic ƒgures . . . are heralds ofpeace and progess and ƒghters against all forms of reaction and fascism. Socialist re-