the artist's solo exhibition at ACA Galleries in New York, where it was highlighted by the artist and critic Paige K. Bradley in the first solo show coverage Ringgold had ever received from Artforum up until then, preceding Beau Rutland's own review two months later. In the French Collection, a multi-paneled series that touches on the truths and mythologies of modernism, Ringgold explored a different solution to overcoming the painful historical legacy of women and men of African descent. As France was the home of modern art at the time, it also became the source for African-American artists to find their own "modern" identity. During the 1970's she also made a "Free Angela" poster design for the Black Panthers, although it was never widely produced Ringgold has stated that she has given a copy of the design to Angela Davis herself. In terms of the place of painting in her practice as whole, the artist considers it her "primary means of expression," as she noted in an interview on the occasion of a retrospective at the New Museum in New York, from 2022. She goes on to note: "My work is always autobiographical—it’s about what is happening at the time. I always do what is honest to me. I think all artists should try to be knowledgeable about the world and express feelings about what they’re observing, what’s important to them. My advice is: Find your voice and don’t worry about what other people think." Quilts Ringgold stated she switched from painting to fabric to get away from the association of painting with Western/European traditions. Similarly, the use of quilt allowed her advocation of the feminist movement as she could simply roll up her quilts to take to the gallery, therefore negating the need of any assistance from her husband. In 1972, Ringgold travelled to Europe in the summer of 1972 with her daughter Michele. While Michele went to visit friends in Spain, Ringgold continued onto Germany and the Netherlands. In Amsterdam, she visited the Rijksmuseum, which became one of the most influential experiences affecting her mature work, and subsequently, lead to the development of her quilt paintings. In the museum, Ringgold encountered a collection of 14th- and 15th-century Nepali paintings, which inspired her to produce fabric borders around her own work. When she returned to the US, a new painting series was born: The Slave Rape Series. In these