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Baker","rel":"author",style:{39:"58.8833px 11.5px",116:"58.8833px 11.5px",230:"19.0333px",254:"pointer"}},children:[ {"text":"R.C. Baker"},]},]},]}, {"text":"\n\n "}, {"tag":"div","attrib":{style:{39:"507px 8.5px",65:"center",116:"507px 8.5px",182:"25px",184:"25px",206:"17px",324:"17px"}},children:[ {"text":"\n "}, {"tag":"time","attrib":{"datetime":"",style:{26:"auto",32:"normal",39:"76.5333px 9.5px",116:"76.5333px 9.5px",182:"0px",184:"0px",188:"17px",191:"1px",201:"auto",206:"auto",217:"500",235:"sans-serif",250:"inline",324:"auto"}},children:[ {"text":"February 4, 2022"},]}, {"text":"\n "},]}, {"text":"\n\n\n "},]}, {"text":"\n\n "}, {"tag":"div","attrib":{style:{39:"507px 0px",43:"0px",110:"0px",114:"relative",116:"507px 0px",127:"0px",129:"0px",192:"0px",197:"0px",198:"0px",199:"0px",200:"0px",206:"0px",284:"0px",324:"0px"}},children:[ {"text":"\n "}, {"tag":"div","attrib":{style:{26:"944px",39:"472px 7.5px",114:"absolute",116:"472px 7.5px",158:"944px",159:"944px",177:"15px",178:"35px",179:"35px",180:"35px",181:"35px",183:"15px",200:"-30px",201:"944px",206:"15px",284:"-30px",324:"15px"}},children:[ {"text":"\n "}, {"text":"\n "},]}, {"text":"\n "},]}, {"text":"\n\n "}, {"tag":"div","attrib":{"id":"js-Content",style:{39:"507px 3810.62px",116:"507px 3810.62px",127:"0px",129:"0px",177:"40px",183:"40px",206:"7621.22px",235:"sans-serif",324:"7621.22px"}},children:[ {"text":"\n "}, {"tag":"div","attrib":{style:{26:"764px",39:"382px 289.117px",116:"382px 289.117px",158:"764px",159:"764px",177:"0px",178:"125px",179:"125px",180:"125px",181:"125px",182:"25px",183:"0px",184:"25px",201:"764px",206:"578.233px",324:"578.233px"}},children:[ {"text":"\n "}, {"tag":"figure","attrib":{style:{158:"none",159:"none",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",184:"0px"}},children:[ {"text":"\n "}, {"tag":"div","attrib":{style:{39:"382px 264.117px",116:"382px 264.117px",206:"528.233px",324:"528.233px"}},children:[ {"text":"\n "}, {"tag":"img","attrib":{"src":"https://www.villagevoice.com/wp-content/uploads/2022/02/W1_FI_FOR-MY-PEOPLE-1366x944.jpg","alt":"","srcset":"https://www.villagevoice.com/wp-content/uploads/2022/02/W1_FI_FOR-MY-PEOPLE-1366x944.jpg 1366w, https://www.villagevoice.com/wp-content/uploads/2022/02/W1_FI_FOR-MY-PEOPLE-300x207.jpg 300w, https://www.villagevoice.com/wp-content/uploads/2022/02/W1_FI_FOR-MY-PEOPLE-1024x708.jpg 1024w, https://www.villagevoice.com/wp-content/uploads/2022/02/W1_FI_FOR-MY-PEOPLE-768x531.jpg 768w, https://www.villagevoice.com/wp-content/uploads/2022/02/W1_FI_FOR-MY-PEOPLE-1536x1062.jpg 1536w, https://www.villagevoice.com/wp-content/uploads/2022/02/W1_FI_FOR-MY-PEOPLE-2048x1416.jpg 2048w, https://www.villagevoice.com/wp-content/uploads/2022/02/W1_FI_FOR-MY-PEOPLE-600x415.jpg 600w, https://www.villagevoice.com/wp-content/uploads/2022/02/W1_FI_FOR-MY-PEOPLE-400x277.jpg 400w, https://www.villagevoice.com/wp-content/uploads/2022/02/W1_FI_FOR-MY-PEOPLE-200x138.jpg 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38)",317:"rgb(38, 38, 38)",320:"rgb(38, 38, 38)",323:"rgb(38, 38, 38)",324:"40px",348:"normal"}},children:[ {"text":"On the cover of this month's Village Voice: Vincent Smith's 'For My People' (1965)"},]}, {"text":"\n "}, {"tag":"span","attrib":{style:{1:"rgb(151, 151, 151)",2:"rgb(151, 151, 151)",13:"start",18:"stretch",26:"152.167px",32:"normal",39:"76.0833px 6.4px",46:"uppercase",55:"rgb(151, 151, 151)",60:"rgb(151, 151, 151)",61:"rgb(151, 151, 151)",65:"right",116:"76.0833px 6.4px",122:"0px",128:"0px",144:"rgb(151, 151, 151)",154:"auto",155:"auto",156:"auto",157:"auto",158:"20%",159:"20%",177:"2px",183:"2px",188:"12.8px",191:"0.24px",195:"normal",201:"152.167px",206:"12.8px",217:"500",230:"8px",240:"0",250:"block",264:"rgb(151, 151, 151)",271:"rgb(151, 151, 151)",276:"rgb(151, 151, 151)",289:"rgb(151, 151, 151)",295:"rgb(151, 151, 151)",298:"rgb(151, 151, 151)",301:"rgb(151, 151, 151)",304:"rgb(151, 151, 151)",317:"rgb(151, 151, 151)",320:"rgb(151, 151, 151)",323:"rgb(151, 151, 151)",324:"12.8px",348:"normal"}},children:[ {"text":"Courtesy of Alexandre Gallery"},]}, {"text":"\n "},]}, {"text":"\n "},]}, {"text":"\n"},]}, {"text":"\n\t\t"}, {"tag":"p","attrib":{style:{26:"690px",39:"345px 160px",116:"345px 160px",158:"690px",159:"690px",177:"18px",178:"162px",179:"162px",180:"162px",181:"162px",182:"24px",183:"18px",184:"24px",188:"32px",201:"690px",206:"320px",230:"18px",324:"320px"}},children:[ {"text":"This is how the gallery bio for a 1970 solo show begins: “Vincent Smith was born in Brooklyn, New York, in 1929. After a few years of work at various jobs, he decided to become a painter.” The artist’s laconic take on his own life leaves out some salient details: He was a child of immigrants from Barbados, and although a good student, he dropped out of high school (some say because he wanted to spend more time sketching than studying) and went to work on the Lackawanna Railroad. Next, he served a hitch in the Army, where he was stationed down South. Many years later, he told an interviewer, “This traveling was a real revelation for me, to experience the conditions under which our people had to live.”"},]}, {"text":"\n"}, {"tag":"p","attrib":{style:{26:"690px",39:"345px 192px",116:"345px 192px",158:"690px",159:"690px",177:"18px",178:"162px",179:"162px",180:"162px",181:"162px",182:"24px",183:"18px",184:"24px",188:"32px",201:"690px",206:"384px",230:"18px",324:"384px"}},children:[ {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"320.25px 11px",116:"320.25px 11px",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"text":"In 1952, Smith was back in New York working at the Post Office when a friend took him to the Museum of Modern Art, where he encountered the paintings of Paul Cézanne. Decades later, he recalled, “For a year afterward I haunted the libraries reading everything I could get my hands on about art, literature, philosophy, religion, existentialism—you name it—I touched on it somewhere. That same year I resigned from the Post Office and decided to be a professional artist.” In 1953, he began taking classes at the Art Students League, studying under Reginald Marsh, a painter who reveled in the hurly-burly of city crowds—roisterers at Coney Island, hobos congregating on the Bowery, and other urban scenes. Similarly, the energy of the streets would infuse Smith’s work throughout his half-century career. (Smith died in 2003.)"},]},]}, {"text":"\n"}, {"tag":"p","attrib":{style:{26:"690px",39:"345px 224px",116:"345px 224px",158:"690px",159:"690px",177:"18px",178:"162px",179:"162px",180:"162px",181:"162px",182:"24px",183:"18px",184:"24px",188:"32px",201:"690px",206:"448px",230:"18px",324:"448px"}},children:[ {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"343.017px 11px",116:"343.017px 11px",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"text":"He continued to study paintings in the museums, and was constantly struck by how rarely he saw anyone who looked like him on the walls, although he was meeting other Black artists in New York. “We were a strange group because people didn’t know what to make of us,” he said many years later, reminiscing about the 1950s. “They were used to Black musicians and performers, but the visual arts were sacred territory. Most people I came in contact with never knew a Black painter nor had they hardly ever heard of one. At that time Jacob Lawrence and Charlie White were the only known Black artists. Beauford Delaney was known, but only in the Village. But we hung out and hung in—in lofts, ballrooms, and in cold water flats.… We’d also drop in at the Whitney Museum and at the Hans Hoffman School, both of which used to be on West 8th Street. The abstract painters hung out in the Cedar Bar, but we preferred the Five Spot Cafe as that’s where they played jazz every night.” "},]},]}, {"text":"\n"}, {"tag":"p","attrib":{style:{26:"690px",39:"345px 128px",116:"345px 128px",158:"690px",159:"690px",177:"18px",178:"162px",179:"162px",180:"162px",181:"162px",182:"24px",183:"18px",184:"24px",188:"32px",201:"690px",206:"256px",230:"18px",324:"256px"}},children:[ {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"342.95px 11px",116:"342.95px 11px",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"text":"Jazz is an enduring theme in Smith’s work, even when no one is singing and no musical instruments are in sight. In "}, {"tag":"i","attrib":{style:{39:"47.8333px 11px",116:"47.8333px 11px",227:"italic"}},children:[ {"text":"Pool Room"},]}, {"text":" (1954), one of the paintings currently on view in the Alexandre Gallery’s exhibition "}, {"tag":"i","attrib":{style:{39:"30.3333px 11px",116:"30.3333px 11px",227:"italic"}},children:[ {"text":"For My People"},]}, {"text":", red dots of paint representing billiard balls pop with the syncopation of a drummer working a high hat slightly behind the beat, while white sleeves and shirts stretch and curve like a louche melody and the background’s predominate dark browns and blacks ring in harmony with ochre light coming in the windows. "},]},]}, {"text":"\n"}, {"tag":"p","attrib":{style:{26:"690px",39:"345px 208px",116:"345px 208px",158:"690px",159:"690px",177:"18px",178:"162px",179:"162px",180:"162px",181:"162px",182:"24px",183:"18px",184:"24px",188:"32px",201:"690px",206:"416px",230:"18px",324:"416px"}},children:[ {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"292.933px 11px",116:"292.933px 11px",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"text":"Although it was painted a year before Smith met Jacob Lawrence (1917–2000) on a crowded train from Manhattan to Brooklyn, "}, {"tag":"i","attrib":{style:{39:"47.8333px 11px",116:"47.8333px 11px",227:"italic"}},children:[ {"text":"Pool Room"},]}, {"text":" feels strongly influenced by the older painter’s 1940-41 “Migration” series, which was well-known in part through "}, {"tag":"i","attrib":{style:{39:"34.85px 11px",116:"34.85px 11px",227:"italic"}},children:[ {"text":"Fortune"},]}, {"text":" magazine’s publishing 26 of the 60 painted panels that make up the series. Sponsored by the New Deal–era Works Progress Administration, Lawrence’s images narrate the movement of large numbers of African Americans from the rural South to the industrial North in the post–World War I era. Lawrence’s figures are simplified into lithe angles and arcs, while buildings, trains, and busses are rendered as interlocking vibrantly hued geometries. Smith, like Lawrence, had little need for exaggeration or hype, finding in the implacable struggle of existence—especially for those who are dealt an unfair hand—something vital and beautiful."},]},]}, {"text":"\n"}, {"tag":"div","attrib":{style:{26:"764px",39:"382px 499.717px",116:"382px 499.717px",158:"764px",159:"764px",177:"0px",178:"125px",179:"125px",180:"125px",181:"125px",182:"25px",183:"0px",184:"25px",201:"764px",206:"999.433px",324:"999.433px"}},children:[ {"text":"\n "}, {"tag":"figure","attrib":{style:{158:"none",159:"none",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",184:"0px"}},children:[ {"text":"\n "}, {"tag":"div","attrib":{style:{39:"382px 484.717px",116:"382px 484.717px",206:"969.433px",324:"969.433px"}},children:[ {"text":"\n "}, {"tag":"img","attrib":{"loading":"lazy","src":"https://www.villagevoice.com/wp-content/uploads/2022/02/w3_TheSoulBrothers-807x1024.jpg","alt":"","srcset":"https://www.villagevoice.com/wp-content/uploads/2022/02/w3_TheSoulBrothers-807x1024.jpg 807w, https://www.villagevoice.com/wp-content/uploads/2022/02/w3_TheSoulBrothers-236x300.jpg 236w, https://www.villagevoice.com/wp-content/uploads/2022/02/w3_TheSoulBrothers-768x975.jpg 768w, https://www.villagevoice.com/wp-content/uploads/2022/02/w3_TheSoulBrothers-1210x1536.jpg 1210w, https://www.villagevoice.com/wp-content/uploads/2022/02/w3_TheSoulBrothers-1614x2048.jpg 1614w, https://www.villagevoice.com/wp-content/uploads/2022/02/w3_TheSoulBrothers-1366x1734.jpg 1366w, https://www.villagevoice.com/wp-content/uploads/2022/02/w3_TheSoulBrothers-600x761.jpg 600w, https://www.villagevoice.com/wp-content/uploads/2022/02/w3_TheSoulBrothers-400x508.jpg 400w, https://www.villagevoice.com/wp-content/uploads/2022/02/w3_TheSoulBrothers-200x254.jpg 200w, https://www.villagevoice.com/wp-content/uploads/2022/02/w3_TheSoulBrothers.jpg 1702w","sizes":"(max-width: 807px) 100vw, 807px","width":"807","height":"1024",style:{32:"normal",158:"960px",159:"960px"}},children:[]}, {"text":" "},]}, {"text":"\n "}, {"tag":"figcaption","attrib":{style:{13:"justify",18:"baseline",39:"382px 15px",116:"382px 15px",122:"8px",128:"8px",195:"space-between",206:"30px",250:"flex",324:"30px",348:"baseline"}},children:[ {"text":"\n "}, {"tag":"span","attrib":{style:{1:"rgb(38, 38, 38)",2:"rgb(38, 38, 38)",13:"start",18:"stretch",26:"212.267px",32:"normal",39:"106.133px 10px",55:"rgb(38, 38, 38)",60:"rgb(38, 38, 38)",61:"rgb(38, 38, 38)",116:"106.133px 10px",122:"0px",123:"20px",126:"20px",128:"0px",144:"rgb(38, 38, 38)",154:"auto",155:"auto",156:"auto",157:"auto",177:"2px",183:"2px",188:"20px",195:"normal",201:"212.267px",206:"20px",217:"700",230:"13px",250:"block",264:"rgb(38, 38, 38)",271:"rgb(38, 38, 38)",276:"rgb(38, 38, 38)",289:"rgb(38, 38, 38)",295:"rgb(38, 38, 38)",298:"rgb(38, 38, 38)",301:"rgb(38, 38, 38)",304:"rgb(38, 38, 38)",317:"rgb(38, 38, 38)",320:"rgb(38, 38, 38)",323:"rgb(38, 38, 38)",324:"20px",348:"normal"}},children:[ {"text":"'The Soul Brothers' (1969)"},]}, {"text":"\n "}, {"tag":"span","attrib":{style:{1:"rgb(151, 151, 151)",2:"rgb(151, 151, 151)",13:"start",18:"stretch",26:"152.167px",32:"normal",39:"76.0833px 6.4px",46:"uppercase",55:"rgb(151, 151, 151)",60:"rgb(151, 151, 151)",61:"rgb(151, 151, 151)",65:"right",116:"76.0833px 6.4px",122:"0px",128:"0px",144:"rgb(151, 151, 151)",154:"auto",155:"auto",156:"auto",157:"auto",158:"20%",159:"20%",177:"2px",183:"2px",188:"12.8px",191:"0.24px",195:"normal",201:"152.167px",206:"12.8px",217:"500",230:"8px",240:"0",250:"block",264:"rgb(151, 151, 151)",271:"rgb(151, 151, 151)",276:"rgb(151, 151, 151)",289:"rgb(151, 151, 151)",295:"rgb(151, 151, 151)",298:"rgb(151, 151, 151)",301:"rgb(151, 151, 151)",304:"rgb(151, 151, 151)",317:"rgb(151, 151, 151)",320:"rgb(151, 151, 151)",323:"rgb(151, 151, 151)",324:"12.8px",348:"normal"}},children:[ {"text":"Courtesy of Alexandre Gallery"},]}, {"text":"\n "},]}, {"text":"\n "},]}, {"text":"\n"},]}, {"text":"\n"}, {"tag":"p","attrib":{style:{26:"690px",39:"345px 240px",116:"345px 240px",158:"690px",159:"690px",177:"18px",178:"162px",179:"162px",180:"162px",181:"162px",182:"24px",183:"18px",184:"24px",188:"32px",201:"690px",206:"480px",230:"18px",324:"480px"}},children:[ {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"334.05px 11px",116:"334.05px 11px",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"text":"As he matured, Smith kept his forms stark but began endowing them with telling details. In the roughly three-by-four-foot canvas "}, {"tag":"i","attrib":{style:{39:"78.8167px 11px",116:"78.8167px 11px",227:"italic"}},children:[ {"text":"Saturday Night in Harlem"},]}, {"text":" (1955), a border of red rough bricks (or maybe they’re asphalt shingles) provides a proscenium framing a lively street tableau. A painter can be spied in the lower right corner, nail heads along the edges of the stretched canvases he is carrying lining up for a right-angle turn into the shirt buttons and bow tie of the dandy behind him. Some women have headscarves that drape in serrated triangles or enclose smooth ovals; children hold hands and form a pyramid that points to a black cross on a red ground sliced diagonally by zigzagging stairs, the entrance to a storefront church. A smaller piece from the “Harlem” series, titled simply "}, {"tag":"i","attrib":{style:{39:"57.8333px 11px",116:"57.8333px 11px",227:"italic"}},children:[ {"text":"Street Scene"},]}, {"text":", pulls in closer, juxtaposing the billowing white curve of a nun’s habit against the wedge of a man’s shirtfront, a blood-red sky with a dark crescent moon as surreal as one of George Herriman’s "}, {"tag":"i","attrib":{style:{39:"42.65px 11px",116:"42.65px 11px",227:"italic"}},children:[ {"text":"Krazy Kat"},]}, {"text":" comic-strip panels. "},]},]}, {"text":"\n"}, {"tag":"p","attrib":{style:{26:"690px",39:"345px 176px",116:"345px 176px",158:"690px",159:"690px",177:"18px",178:"162px",179:"162px",180:"162px",181:"162px",182:"24px",183:"18px",184:"24px",188:"32px",201:"690px",206:"352px",230:"18px",324:"352px"}},children:[ {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"343.633px 11px",116:"343.633px 11px",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"text":"Although Smith bucked the trend of pure abstraction that dominated the art world in his youth (and did the same with the pop and conceptual movements of later decades), he brought formal dynamism to every composition. Check out the near-sculptural cleft between the two figures in "}, {"tag":"i","attrib":{style:{39:"80.4167px 11px",116:"80.4167px 11px",227:"italic"}},children:[ {"text":"The Soul Brothers"},]}, {"text":" (1969). The pair of heads lean in conspiratorially, locking together like puzzle pieces, eyes secretive slits, grimacing grills for teeth. Is one whispering calumnies about the woman in the window? Are they rivals? Or protectors of virtue? This is the painter as playwright, as raconteur. Which isn’t especially surprising, considering that in the late 1980s the artist hosted a show on New York’s Pacifica Radio station, WBAI: “Vincent Smith Dialogues with Contemporary Artists.” "},]},]}, {"text":"\n"}, {"tag":"p","attrib":{style:{26:"690px",39:"345px 192px",116:"345px 192px",158:"690px",159:"690px",177:"18px",178:"162px",179:"162px",180:"162px",181:"162px",182:"24px",183:"18px",184:"24px",188:"32px",201:"690px",206:"384px",230:"18px",324:"384px"}},children:[ {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"340.967px 11px",116:"340.967px 11px",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"text":"What, one might wonder, would be the discussion around Smith’s four-foot-high canvas "}, {"tag":"i","attrib":{style:{39:"47.8333px 11px",116:"47.8333px 11px",227:"italic"}},children:[ {"text":"Ritual Man"},]}, {"text":" (1972)? With a cinched tie and loud sports jacket, the protagonist presides a little above center, surrounded by concentric rectangles of slathered paint the color of smoldering embers and dried blood. He casts a side-eye out of the frame and is flanked by orange drips that coagulate into chickens’ feet—maybe sentinels to protect him from whatever unseen entity is approaching from offstage. "}, {"tag":"i","attrib":{style:{39:"65.1833px 11px",116:"65.1833px 11px",227:"italic"}},children:[ {"text":"Easter Sunday"},]}, {"text":" (1965) is divided by a slash of yellow that illuminates a bouquet of flowers held by a figure in the foreground and forms a spine connecting blood-orange sky and a multi-hued checkerboard of stained glass in the background. The vibe is one of renewal tempered by the sharp edges of lives lived close to the bone."},]},]}, {"text":"\n"}, {"tag":"div","attrib":{style:{26:"764px",39:"382px 508.283px",116:"382px 508.283px",158:"764px",159:"764px",177:"0px",178:"125px",179:"125px",180:"125px",181:"125px",182:"25px",183:"0px",184:"25px",201:"764px",206:"1016.55px",324:"1016.55px"}},children:[ {"text":"\n "}, {"tag":"figure","attrib":{style:{158:"none",159:"none",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",184:"0px"}},children:[ {"text":"\n "}, {"tag":"div","attrib":{style:{39:"382px 493.283px",116:"382px 493.283px",206:"986.55px",324:"986.55px"}},children:[ {"text":"\n "}, {"tag":"img","attrib":{"loading":"lazy","src":"https://www.villagevoice.com/wp-content/uploads/2022/02/W2_EasterSunday-793x1024.jpg","alt":"","srcset":"https://www.villagevoice.com/wp-content/uploads/2022/02/W2_EasterSunday-793x1024.jpg 793w, https://www.villagevoice.com/wp-content/uploads/2022/02/W2_EasterSunday-232x300.jpg 232w, https://www.villagevoice.com/wp-content/uploads/2022/02/W2_EasterSunday-768x991.jpg 768w, https://www.villagevoice.com/wp-content/uploads/2022/02/W2_EasterSunday-1190x1536.jpg 1190w, https://www.villagevoice.com/wp-content/uploads/2022/02/W2_EasterSunday-1586x2048.jpg 1586w, https://www.villagevoice.com/wp-content/uploads/2022/02/W2_EasterSunday-1366x1763.jpg 1366w, https://www.villagevoice.com/wp-content/uploads/2022/02/W2_EasterSunday-600x775.jpg 600w, https://www.villagevoice.com/wp-content/uploads/2022/02/W2_EasterSunday-400x516.jpg 400w, https://www.villagevoice.com/wp-content/uploads/2022/02/W2_EasterSunday-200x258.jpg 200w, https://www.villagevoice.com/wp-content/uploads/2022/02/W2_EasterSunday-scaled.jpg 1983w","sizes":"(max-width: 793px) 100vw, 793px","width":"793","height":"1024",style:{32:"normal",158:"960px",159:"960px"}},children:[]}, {"text":" "},]}, {"text":"\n "}, {"tag":"figcaption","attrib":{style:{13:"justify",18:"baseline",39:"382px 15px",116:"382px 15px",122:"8px",128:"8px",195:"space-between",206:"30px",250:"flex",324:"30px",348:"baseline"}},children:[ {"text":"\n "}, {"tag":"span","attrib":{style:{1:"rgb(38, 38, 38)",2:"rgb(38, 38, 38)",13:"start",18:"stretch",26:"185.933px",32:"normal",39:"92.9667px 10px",55:"rgb(38, 38, 38)",60:"rgb(38, 38, 38)",61:"rgb(38, 38, 38)",116:"92.9667px 10px",122:"0px",123:"20px",126:"20px",128:"0px",144:"rgb(38, 38, 38)",154:"auto",155:"auto",156:"auto",157:"auto",177:"2px",183:"2px",188:"20px",195:"normal",201:"185.933px",206:"20px",217:"700",230:"13px",250:"block",264:"rgb(38, 38, 38)",271:"rgb(38, 38, 38)",276:"rgb(38, 38, 38)",289:"rgb(38, 38, 38)",295:"rgb(38, 38, 38)",298:"rgb(38, 38, 38)",301:"rgb(38, 38, 38)",304:"rgb(38, 38, 38)",317:"rgb(38, 38, 38)",320:"rgb(38, 38, 38)",323:"rgb(38, 38, 38)",324:"20px",348:"normal"}},children:[ {"text":"'Easter Sunday' (1965)"},]}, {"text":"\n "}, {"tag":"span","attrib":{style:{1:"rgb(151, 151, 151)",2:"rgb(151, 151, 151)",13:"start",18:"stretch",26:"152.167px",32:"normal",39:"76.0833px 6.4px",46:"uppercase",55:"rgb(151, 151, 151)",60:"rgb(151, 151, 151)",61:"rgb(151, 151, 151)",65:"right",116:"76.0833px 6.4px",122:"0px",128:"0px",144:"rgb(151, 151, 151)",154:"auto",155:"auto",156:"auto",157:"auto",158:"20%",159:"20%",177:"2px",183:"2px",188:"12.8px",191:"0.24px",195:"normal",201:"152.167px",206:"12.8px",217:"500",230:"8px",240:"0",250:"block",264:"rgb(151, 151, 151)",271:"rgb(151, 151, 151)",276:"rgb(151, 151, 151)",289:"rgb(151, 151, 151)",295:"rgb(151, 151, 151)",298:"rgb(151, 151, 151)",301:"rgb(151, 151, 151)",304:"rgb(151, 151, 151)",317:"rgb(151, 151, 151)",320:"rgb(151, 151, 151)",323:"rgb(151, 151, 151)",324:"12.8px",348:"normal"}},children:[ {"text":"Courtesy of Alexandre Gallery"},]}, {"text":"\n "},]}, {"text":"\n "},]}, {"text":"\n"},]}, {"text":"\n"}, {"tag":"p","attrib":{style:{26:"690px",39:"345px 304px",116:"345px 304px",158:"690px",159:"690px",177:"18px",178:"162px",179:"162px",180:"162px",181:"162px",182:"24px",183:"18px",184:"24px",188:"32px",201:"690px",206:"608px",230:"18px",324:"608px"}},children:[ {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"337.933px 11px",116:"337.933px 11px",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"text":"Similarly, a bright ray of yellow cuts catty-corner across "}, {"tag":"i","attrib":{style:{39:"83.4167px 11px",116:"83.4167px 11px",227:"italic"}},children:[ {"text":"Martin Luther King "},]}, {"text":"(1969), but the mood here is much weightier. At a distance one can discern the boldest element, in the lower right corner—a black handprint riven by cracks as if stamped into dried mud. Up close, a photo of Martin Luther King Jr.’s coffin in a wagon pulled by two mules comes into focus in the upper left. This shift in scale conjures a vision of the hand of God molding man from clay only to cast him upon the vicissitudes of history. Smith often leavened his paints with sand, and here the surface feels essential, grit as the base material of existence. There is a profound aura to this canvas that has perhaps gained resonance through the fact that the dead cannot defend themselves from demagogues—because it happens every year. This time, it was Senator Marco Rubio, of Florida. He tweeted, “‘When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir.’ Dr. Martin Luther King (1963).” Perhaps the GOP lawmaker was just promoting ideas about capitalism’s beneficence, but of course he was also using Twitter’s vast limitations to eviscerate the true meaning of the quote, part of King’s “I Have a Dream” speech. Here are the lines that Rubio bowdlerized:"},]},]}, {"text":"\n"}, {"tag":"blockquote","attrib":{style:{1:"rgb(87, 87, 87)",2:"rgb(87, 87, 87)",26:"690px",39:"345px 304px",55:"rgb(87, 87, 87)",60:"rgb(87, 87, 87)",61:"rgb(87, 87, 87)",116:"345px 304px",124:"25px",125:"25px",144:"rgb(87, 87, 87)",158:"690px",159:"690px",177:"0px",178:"162px",179:"162px",180:"162px",181:"162px",183:"0px",188:"32px",201:"690px",206:"608px",217:"500",230:"17px",264:"rgb(87, 87, 87)",271:"rgb(87, 87, 87)",276:"rgb(87, 87, 87)",289:"rgb(87, 87, 87)",295:"rgb(87, 87, 87)",296:"3px",297:"solid",298:"rgb(204, 204, 204)",299:"3px",300:"solid",301:"rgb(204, 204, 204)",304:"rgb(87, 87, 87)",317:"rgb(87, 87, 87)",320:"rgb(87, 87, 87)",323:"rgb(87, 87, 87)",324:"608px"}},children:[ {"text":"\n"}, {"tag":"p","attrib":{style:{26:"662px",39:"331px 16px",116:"331px 16px",124:"0px",125:"0px",177:"17px",178:"0px",179:"0px",180:"0px",181:"0px",182:"24px",183:"17px",184:"24px",201:"662px",206:"32px",296:"0px",297:"none",298:"rgb(87, 87, 87)",299:"0px",300:"none",301:"rgb(87, 87, 87)",324:"32px"}},children:[ {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"264.9px 10.5px",116:"264.9px 10.5px",158:"none",159:"none",177:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"tag":"i","attrib":{style:{227:"italic"}},children:[ {"text":"In a sense we’ve come to our nation’s capital to cash a check."},]},]},]}, {"text":"\n"}, {"tag":"p","attrib":{style:{26:"662px",39:"331px 96px",116:"331px 96px",124:"0px",125:"0px",177:"17px",178:"0px",179:"0px",180:"0px",181:"0px",182:"24px",183:"17px",184:"24px",201:"662px",206:"192px",296:"0px",297:"none",298:"rgb(87, 87, 87)",299:"0px",300:"none",301:"rgb(87, 87, 87)",324:"192px"}},children:[ {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"303.233px 10.5px",116:"303.233px 10.5px",158:"none",159:"none",177:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"tag":"i","attrib":{style:{227:"italic"}},children:[ {"text":"When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise that all men—yes, black men as well as white men—would be guaranteed the unalienable rights of life, liberty, and the pursuit of happiness."},]},]},]}, {"text":"\n"}, {"tag":"p","attrib":{style:{26:"662px",39:"331px 64px",116:"331px 64px",124:"0px",125:"0px",177:"17px",178:"0px",179:"0px",180:"0px",181:"0px",182:"24px",183:"17px",184:"24px",201:"662px",206:"128px",296:"0px",297:"none",298:"rgb(87, 87, 87)",299:"0px",300:"none",301:"rgb(87, 87, 87)",324:"128px"}},children:[ {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"299.883px 10.5px",116:"299.883px 10.5px",158:"none",159:"none",177:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"tag":"i","attrib":{style:{227:"italic"}},children:[ {"text":"It is obvious today that America has defaulted on this promissory note insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check, a check which has come back marked insufficient funds."},]},]},]}, {"text":"\n"}, {"tag":"p","attrib":{style:{26:"662px",39:"331px 16px",116:"331px 16px",124:"0px",125:"0px",177:"17px",178:"0px",179:"0px",180:"0px",181:"0px",182:"24px",183:"17px",184:"24px",201:"662px",206:"32px",296:"0px",297:"none",298:"rgb(87, 87, 87)",299:"0px",300:"none",301:"rgb(87, 87, 87)",324:"32px"}},children:[ {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"258.633px 10.5px",116:"258.633px 10.5px",158:"none",159:"none",177:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"tag":"i","attrib":{style:{227:"italic"}},children:[ {"text":"But we refuse to believe that the bank of justice is bankrupt."},]},]},]}, {"text":"\n"}, {"tag":"p","attrib":{style:{26:"662px",39:"331px 64px",116:"331px 64px",124:"0px",125:"0px",177:"17px",178:"0px",179:"0px",180:"0px",181:"0px",182:"24px",183:"17px",184:"24px",201:"662px",206:"128px",296:"0px",297:"none",298:"rgb(87, 87, 87)",299:"0px",300:"none",301:"rgb(87, 87, 87)",324:"128px"}},children:[ {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"317.633px 10.5px",116:"317.633px 10.5px",158:"none",159:"none",177:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"tag":"i","attrib":{style:{227:"italic"}},children:[ {"text":"We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. And so we’ve come to cash this check, a check that will give us upon demand the riches of freedom and the security of justice."},]},]},]}, {"text":"\n"},]}, {"text":"\n"}, {"tag":"p","attrib":{style:{26:"690px",39:"345px 80px",116:"345px 80px",158:"690px",159:"690px",177:"18px",178:"162px",179:"162px",180:"162px",181:"162px",182:"24px",183:"18px",184:"24px",188:"32px",201:"690px",206:"160px",230:"18px",324:"160px"}},children:[ {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"339.55px 11px",116:"339.55px 11px",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"text":"The stirring image of “great vaults of opportunity” brings to the mind’s eye a young Black man wandering under the high ceilings and luminous skylights of the city’s museums, at that moment of unbounded cultural promise when New York found itself the art capital of the world. Smith, through grit, determination, and humanity, made this town his own.  ❖"},]},]}, {"text":"\n"}, {"tag":"p","attrib":{style:{26:"690px",39:"345px 80px",116:"345px 80px",158:"690px",159:"690px",177:"18px",178:"162px",179:"162px",180:"162px",181:"162px",182:"24px",183:"18px",184:"24px",188:"32px",201:"690px",206:"160px",230:"18px",324:"160px"}},children:[ {"tag":"em","attrib":{style:{26:"auto",32:"normal",39:"132.433px 11px",116:"132.433px 11px",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",227:"italic",250:"inline",324:"auto"}},children:[ {"text":"Vincent Smith: For My People"},]}, {"tag":"br","attrib":{style:{26:"0px",32:"normal",39:"0px 0px",116:"0px 0px",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",201:"0px",206:"0px",250:"inline",324:"0px"}},children:[]}, {"text":"\nAlexandre Gallery"}, {"tag":"br","attrib":{style:{26:"0px",32:"normal",39:"0px 0px",116:"0px 0px",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",201:"0px",206:"0px",250:"inline",324:"0px"}},children:[]}, {"text":"\n291 Grand Street"}, {"tag":"br","attrib":{style:{26:"0px",32:"normal",39:"0px 0px",116:"0px 0px",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",201:"0px",206:"0px",250:"inline",324:"0px"}},children:[]}, {"text":"\n212-755-2828, "}, {"tag":"a","attrib":{"href":"https://www.alexandregallery.com/current-exhibitions","rel":"noopener",style:{1:"rgb(37, 37, 37)",2:"rgb(37, 37, 37)",26:"auto",32:"normal",39:"97.2833px 11.5px",55:"rgb(37, 37, 37)",60:"rgb(37, 37, 37)",61:"rgb(37, 37, 37)",116:"97.2833px 11.5px",124:"2px",125:"2px",144:"rgb(37, 37, 37)",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",183:"0px",201:"auto",206:"auto",250:"inline",254:"pointer",264:"rgb(37, 37, 37)",271:"rgb(37, 37, 37)",276:"rgb(37, 37, 37)",289:"rgb(37, 37, 37)",295:"rgb(37, 37, 37)",298:"rgb(37, 37, 37)",301:"rgb(37, 37, 37)",304:"rgb(37, 37, 37)",313:"1px",314:"solid",317:"rgb(37, 37, 37)",320:"rgb(37, 37, 37)",321:"1px",322:"solid",323:"rgb(37, 37, 37)",324:"auto"}},children:[ {"text":"alexandregallery.com"},]}, {"tag":"br","attrib":{style:{26:"0px",32:"normal",39:"0px 0px",116:"0px 0px",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",201:"0px",206:"0px",250:"inline",324:"0px"}},children:[]}, {"text":"\nThrough February 26"},]}, {"text":"\n"}, {"tag":"p","attrib":{style:{26:"690px",39:"345px 32px",116:"345px 32px",158:"690px",159:"690px",177:"18px",178:"162px",179:"162px",180:"162px",181:"162px",182:"24px",183:"18px",184:"24px",188:"32px",201:"690px",206:"64px",230:"18px",324:"64px"}},children:[ {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"335.133px 11px",116:"335.133px 11px",158:"none",159:"none",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"tag":"i","attrib":{style:{227:"italic"}},children:[ {"text":"R.C. Baker has been writing about art, politics, popular culture, and sports for the "},]}, {"text":"Village Voice"}, {"tag":"i","attrib":{style:{39:"54.85px 11px",116:"54.85px 11px",227:"italic"}},children:[ {"text":" since 1994."},]},]},]}, {"text":"\n "}, {"text":"\n "}, {"tag":"div","attrib":{style:{13:"center",26:"690px",39:"345px 0px",116:"345px 0px",158:"690px",159:"690px",177:"10px",178:"162px",179:"162px",180:"162px",181:"162px",182:"10px",183:"10px",184:"10px",188:"32px",195:"center",201:"690px",206:"0px",230:"18px",324:"0px",349:"stretch"}},children:[ {"text":"\n "}, {"tag":"div","attrib":{"widget-loading":"true",style:{13:"start",177:"0px",178:"0px",179:"0px",180:"0px",181:"0px",182:"0px",183:"0px",184:"0px",195:"normal",349:"normal"}},children:[]}, {"text":"\n "}, {"text":"\n "},]}, {"text":"\n\n"},{"tag":"div","pseudo":"after","attrib":{style:{28:"hidden",32:"normal",39:"507px 0px",116:"507px 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{"text":"\n\t\t\t\tConflicting Beliefs on Abortion Rights at St. Pat’s; Confrontations at the Federalist Society "},]}, {"text":"\n "},]}, {"text":"\n\n\t\t "}, {"tag":"div","attrib":{style:{1:"rgb(23, 23, 23)",2:"rgb(23, 23, 23)",16:"0",26:"484px",39:"242px 38.7px",55:"rgb(23, 23, 23)",60:"rgb(23, 23, 23)",61:"rgb(23, 23, 23)",65:"center",116:"242px 38.7px",123:"0px",124:"0px",125:"0px",126:"0px",127:"15px",129:"15px",144:"rgb(23, 23, 23)",154:"0px",155:"0px",156:"0px",157:"0px",188:"20.8px",201:"484px",206:"77.4px",227:"italic",235:"sans-serif",241:"0",243:"auto",264:"rgb(23, 23, 23)",271:"rgb(23, 23, 23)",276:"rgb(23, 23, 23)",289:"rgb(23, 23, 23)",295:"rgb(23, 23, 23)",298:"rgb(23, 23, 23)",301:"rgb(23, 23, 23)",304:"rgb(23, 23, 23)",317:"rgb(23, 23, 23)",320:"rgb(23, 23, 23)",323:"rgb(23, 23, 23)",324:"77.4px"}},children:[ {"text":"The streets of New York City reflect the anger of the majority of Americans at the Supreme Court's decision to overturn Roe v. Wade."},]}, {"text":"\n\t\t\n "}, {"tag":"div","attrib":{style:{1:"rgb(23, 23, 23)",2:"rgb(23, 23, 23)",16:"0",26:"484px",39:"242px 12px",55:"rgb(23, 23, 23)",60:"rgb(23, 23, 23)",61:"rgb(23, 23, 23)",65:"center",116:"242px 12px",123:"0px",124:"0px",125:"0px",126:"0px",127:"7px",129:"7px",144:"rgb(23, 23, 23)",154:"0px",155:"0px",156:"0px",157:"0px",188:"17px",191:"0.98px",201:"484px",206:"24px",217:"500",230:"14px",235:"sans-serif",241:"0",243:"auto",264:"rgb(23, 23, 23)",271:"rgb(23, 23, 23)",276:"rgb(23, 23, 23)",289:"rgb(23, 23, 23)",295:"rgb(23, 23, 23)",298:"rgb(23, 23, 23)",301:"rgb(23, 23, 23)",304:"rgb(23, 23, 23)",317:"rgb(23, 23, 23)",320:"rgb(23, 23, 23)",323:"rgb(23, 23, 23)",324:"24px"}},children:[ {"text":"\n by\n "}, {"tag":"span","attrib":{style:{26:"auto",32:"normal",39:"65.45px 8.5px",116:"65.45px 8.5px",127:"0px",129:"0px",201:"auto",206:"auto",250:"inline",324:"auto"}},children:[ {"text":"\n "}, {"tag":"a","attrib":{"href":"https://www.villagevoice.com/author/nathan-morris/","title":"Posts by Nathan Morris","rel":"author",style:{46:"uppercase",254:"pointer"}},children:[ {"text":"Nathan Morris"},]}, {"text":" "},]}, {"text":"\n "},]}, {"text":"\n \n "}, {"tag":"div","attrib":{style:{16:"0",26:"484px",39:"242px 8px",65:"center",116:"242px 8px",123:"0px",124:"0px",125:"0px",126:"0px",154:"0px",155:"0px",156:"0px",157:"0px",188:"16px",191:"0.544px",201:"484px",206:"16px",217:"500",230:"13.6px",235:"sans-serif",241:"0",243:"auto",324:"16px"}},children:[ {"text":"\n June 30, 2022 "},]}, {"text":"\n "},]}, {"text":"\n"},]}, {"tag":"li","attrib":{style:{18:"center",39:"382px 148.3px",65:"left",116:"382px 148.3px",122:"30px",127:"30px",128:"30px",129:"30px",154:"200px",155:"200px",206:"296.6px",250:"flex",256:"none",313:"1px",314:"solid",317:"rgb(225, 225, 225)",321:"1px",322:"solid",323:"rgb(225, 225, 225)",324:"296.6px",348:"center"}},children:[ {"text":"\n "}, 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Nein, Nein!’ "},]}, {"text":"\n "},]}, {"text":"\n\n\t\t "}, {"tag":"div","attrib":{style:{1:"rgb(23, 23, 23)",2:"rgb(23, 23, 23)",16:"0",26:"484px",39:"242px 28.3px",55:"rgb(23, 23, 23)",60:"rgb(23, 23, 23)",61:"rgb(23, 23, 23)",65:"center",116:"242px 28.3px",123:"0px",124:"0px",125:"0px",126:"0px",127:"15px",129:"15px",144:"rgb(23, 23, 23)",154:"0px",155:"0px",156:"0px",157:"0px",188:"20.8px",201:"484px",206:"56.6px",227:"italic",235:"sans-serif",241:"0",243:"auto",264:"rgb(23, 23, 23)",271:"rgb(23, 23, 23)",276:"rgb(23, 23, 23)",289:"rgb(23, 23, 23)",295:"rgb(23, 23, 23)",298:"rgb(23, 23, 23)",301:"rgb(23, 23, 23)",304:"rgb(23, 23, 23)",317:"rgb(23, 23, 23)",320:"rgb(23, 23, 23)",323:"rgb(23, 23, 23)",324:"56.6px"}},children:[ {"text":"The novelist/memoirist/journalist takes an audacious, emotional journey through “concentration-camp-world.”"},]}, {"text":"\n\t\t\n "}, {"tag":"div","attrib":{style:{1:"rgb(23, 23, 23)",2:"rgb(23, 23, 23)",16:"0",26:"484px",39:"242px 12px",55:"rgb(23, 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{"tag":"div","attrib":{style:{16:"0",26:"484px",39:"242px 8px",65:"center",116:"242px 8px",123:"0px",124:"0px",125:"0px",126:"0px",154:"0px",155:"0px",156:"0px",157:"0px",188:"16px",191:"0.544px",201:"484px",206:"16px",217:"500",230:"13.6px",235:"sans-serif",241:"0",243:"auto",324:"16px"}},children:[ {"text":"\n June 28, 2022 "},]}, {"text":"\n "},]}, {"text":"\n"},]}, {"tag":"li","attrib":{style:{18:"center",39:"382px 148.3px",65:"left",116:"382px 148.3px",122:"30px",127:"30px",128:"30px",129:"30px",154:"200px",155:"200px",206:"296.6px",250:"flex",256:"none",313:"1px",314:"solid",317:"rgb(225, 225, 225)",321:"1px",322:"solid",323:"rgb(225, 225, 225)",324:"296.6px",348:"center"}},children:[ {"text":"\n "}, {"tag":"div","attrib":{style:{18:"stretch",26:"220px",39:"110px 73px",116:"110px 73px",122:"0px",127:"0px",128:"0px",129:"0px",154:"auto",155:"auto",156:"auto",157:"auto",201:"220px",206:"146px",240:"0",243:"220px",250:"block",313:"0px",314:"none",317:"rgb(0, 0, 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