works, sometimes adding sound and moving images to the overall effect. Live animals were selectively included as crucial elements in some installations, providing motion and sound that contrasted starkly with frozen tableaus of decay and degradation. For example, The Wait, a dismal scene of a lonely skeletal woman surrounded by memories and waiting for death, incorporates a cage with a live parakeet cheerfully chirping and hopping about. The bird is considered an integral part of the installation, but requires special attention to ensure that it remains healthy and active, as described in the Whitney Museum's online catalog and video. Another well-known work, The State Hospital, incorporates a pair of black goldfish swimming in each of two glass goldfish bowls representing the head of an inmate suffering with mental illness. Kienholz's work commented savagely on racism, aging, mental illness, sexual stereotypes, poverty, greed, corruption, imperialism, patriotism, religion, alienation, and most of all, moral hypocrisy. Because of their satirical and antiestablishment tones, their works have often been linked to the funk art movement based in San Francisco in the 1960s. Although he was an atheist and despised feigned religiosity, Keinholz carefully preserved an anonymous store window shrine discovered in Spokane, Washington. Calling this found outsider artwork The Jesus Corner, Keinholz exhibited it in a Spokane museum in 1984, and then showed it at the San Francisco Museum of Modern Art. Ten years later, Keinholz insisted on selling it at a reduced price to the Missoula Art Museum in Missoula, Montana, to ensure that it would be on view in an environment he felt comfortable with. Collaboration with Nancy Reddin (1972–1994) In 1981, Ed Kienholz officially declared that all his work from 1972 on should be retrospectively understood to be co-authored by, and co-signed by, his fifth wife and collaborator, former photojournalist Nancy Reddin Kienholz. Collectively, they are referred to as "Kienholz". Their work has been widely acclaimed, particularly in Europe. In the early 1970s, Kienholz received a grant that permitted him to work in Berlin. His most important works during this period were based on the Volksempfängers (fixed-channel radio receiving apparatus from the National Socialist period in Germany). In 1973 he was guest artist of the German Academic Exchange Service in Berlin. In 1974 Edward Kienholz performed with Jannis Kounellis, Wolf Vostell, and other artists in Berlin at the ADA - Aktionen der Avantgarde. In 1973, Kienholz and Reddin moved from Los