ground. Not only were women artists excluded from this show, but no African-American artists were represented either. Even Jacob Lawrence, an artist in the museum's permanent collection, was excluded. After participating in more protest activity, Ringgold was arrested on November 13, 1970. Ringgold and Lippard also worked together during their participation in the group Women Artists in Revolution (WAR). That same year, Ringgold and her daughter Michele Wallace founded Women Students and Artists for Black Art Liberation (WSABAL). Around 1974, Ringgold and Wallace were founding members of the National Black Feminist Organization. Ringgold was also a founding member of the "Where We At" Black Women Artists, a New York-based women's art collective associated with the Black Arts Movement. The inaugural show of "Where We At" featured soul food rather than traditional cocktails, exhibiting an embrace of cultural roots. The show was first presented in 1971 with eight artists and had expanded to 20 by 1976. In 1972, Doloris Holmes, who interviewed specifically for the Archives of American Art, interviewed Ringgold, where she was asked about an upcoming show she was "going to be involved in," to which Ringgold elaborated; "...this is definitely the first black female show in New York... we have this show as a result of our insistence, and as a result of the work that WSABAL started. This group is not a group of women who are WSABAL. This is WSABAL's show, incidentally. This is a group of artists, some of whom have never shown before, some of whom have." Additionally, Ringgold was asked about her life as a black woman artist and her views of black artists of the past, to which she tells the story of a sculpture that was created by Augusta Savage. The sculpture depicts two slaves that are rejoicing over having been freed from slavery. Despite the historic and emotional tones this sculpture was meant to give off, Ringgold highlights that the sculpture was, in fact, made with marble, which causes the sculpture to appear white in color; "...you really don't think that these are black people because [Savage] still had the white image in her mind." Ringgold tells this story in order to highlight the eraser of true African artwork and history. Ringgold explains that she admires African artwork, "because it attempts to take the mood and the spirit of the person and visualize that, instead of the human roundness and