exhibition of African-American art from the private collection of Harmon and Harriet Kelley. Paintings by George de Forest Brush (1855–1941) and Charles Sheeler (1883–1965), as well as a complete, 20-volume set of Edward Sheriff Curtis’ The North American Indian (1907–1930), were added to the museum’s permanent collection during Dr. Tyler’s administration. Dr. Andrew J. Walker has led the Amon Carter since 2011. Under Dr. Walker's leadership, the ACMAA has hosted major exhibitions of work by George Caleb Bingham (1811–1879), Will Barnet (1911–2012), and the circle of New York modernists led by artist John Graham (1886–1961). He has overseen additions to the permanent collection of works by Robert Seldon Duncanson (1821–1872), Raphaelle Peale (in memory of Ruth Carter Stevenson), and John Singer Sargent (1856–1925), and he initiated major upgrades to the museum’s digital presence, including the Connecting to Exhibitions digitization project, a two-year initiative that will allow online access to many of the museum’s previous art exhibitions. In 1977, on the occasion of the opening of the Philip Johnson-designed expansion, the Amon Carter Museum of Western Art became the Amon Carter Museum. In 2011, on the occasion of the museum’s 50th anniversary, the museum was renamed the Amon Carter Museum of American Art. Building Architect Philip C. Johnson (1906–2005) maintained a forty-year association with the Amon Carter Museum of American Art as the designer of the institution's original building and two major expansions. The Amon G. Carter Foundation first commissioned Johnson in 1958 to devise a museum building that would showcase a core collection of western art and also serve as a memorial to the museum's founder. At the time Johnson won this commission he was also overseeing construction of the new Munson-Williams-Proctor Arts Institute Museum of Art in Utica, New York. Johnson found the Carter museum project particularly inspiring because of the spectacular view from the proposed museum's building site on a gently sloping hillside overlooking downtown Fort Worth. Amon G. Carter Sr. had personally chosen the site in 1951. Johnson placed the museum building as far up the hillside as possible in order to maximize this panoramic view to the east. Johnson designed a two-story portico with five arches that faced east toward the city's skyline. The arches and their tapered support columns were clad in creamy Texas shellstone. The remaining three sides of the 20,000-square-foot building were also covered with shellstone cladding. Sheltered by the arched portico, the