art. I can collide freedom into its supposed opposite and call that art. I name necessity art." The manifesto is formed into two major parts. In part I, under the rubric 'Ideas' she makes a distinction between the two basic systems of 'Development' and 'Maintenance', where the former is associated with 'pure individual creation', 'the new', 'change' and the latter is tasked with 'keep the dust off the pure individual creation, preserve the new, sustain the change'. She asks, "after the revolution, who’s going to pick up the garbage on Monday morning?". This contrasts with the modernist tradition in which the originality of an artist is foregrounded and the mundane material reality of an artist's everyday life is disregarded. The second part describes her proposal for the exhibition and is made up of three parts A) Part One: Personal, B) Part Two: General and C) Part Three: Earth Maintenance. She begins with the statement “I am an artist. I am a woman. I am a wife. I am a mother. (Random order) I do a hell of a lot of washing, cleaning, cooking, renewing, supporting, preserving, etc. Also, (up to now separately) I ‘do’ Art. Now I will simply do these everyday things, and flush them up to consciousness, exhibit them, as Art [...] MY WORKING WILL BE THE WORK” Touch Sanitation (1979-80) Touch Sanitation is one of Ukeles’ most ambitious early projects and a milestone in the history of performance art. Taking almost a year, Ukeles met over 8500 employees of the New York Sanitation Department, shaking hands with each of them and saying, “Thank you for keeping New York City alive”. She documented her activities on a map, meticulously recording her conversations with the workers. Ukeles documented the workers' private stories in an attempt to change some of the negative words used in the public sphere of society, using her art as an agent of change to challenge conventional stereotypes. Honors and awards Laderman Ukeles was given honorary doctorates from: School of the Art Institute of Chicago, Chicago, IL, Rhode Island School of Design, Providence, RI, and Maine College of Art, Portland, ME. She has been awarded several prestigious awards and fellowships including: Francis J. Greenburger Award, Art Omi, 2019, Charlotta Kotik, Presenter Public Art Dialogue Award, College Art Association, 2017 Lily Auchincloss Foundation, 2015 The Shelley & Donald Rubin Foundation, 2015. Queens Museum Honoree, 2015. Ann Chamberlain