people." Edwards wanted the public to participate in the way cities were developing. In every project, Smokehouse would hire someone elderly within the community and someone young. These murals were small scale- never going pass 16 ft or higher due to the height restrictions of the initiatives ladder. Nevertheless, Smokehouse painted alleyways, tops of buildings, and sides of buildings. William T. Williams handled the logistics of the organization. As the project continued, MOMA patron Celeste Bartos and David Rockefeller underwrote these projects. The more recognition they got the bigger people wanted them to go. They didn't feel comfortable going too large. 121st and Sylvan still have the annual tradition of doing a community-based mural project because of Smokehouse. Lynch Fragments series (1963 – present) Edwards' work Some Bright Morning (1963) started his series called, Lynch Fragments and was a reference to Ralph Ginzburg's anthology, 100 Years of Lynchings (1962). The series now has more than 200 pieces. Inspired by the turmoil of the Civil Rights Movement, these small-scale welded metal wall reliefs were developed in three periods: 1963 to 1967, 1973 to 1974, and 1978 to the present. Edwards created the series as metaphor of the struggles experienced by African Americans. A variety of metal objects are employed as the raw materials for these works, including hammer heads, scissors, locks, chains, and railroad splices. The sculptures, usually no more than a foot tall, are hung on the wall at eye level. Rocker series Edwards is also known for smaller freestanding works, the kinetic "Rockers" series. Works from the Rocker series include, Homage to Coco (1970), Good Friends in Chicago (1972), Avenue B (Rocker) (1975), Memories of Coco (1980), A Conversation with Norman Lewis (1980), among others. These moving sculptures are inspired by his memories, including one of him falling off his grandmother's rocking chair and another as a homage to his friendships. Edwards used the term "syncopate" to describe the interaction while rocking, and the relationship of syncopation in African-American music. Other work He is also known for works executed in the medium of printmaking. His large-scale, public art works include, Homage to My Father and the Spirit (1969, Cornell University, Appel Commons, Ithaca, New York), Pyramid Up and Down Pyramid (1969, re-fabricated 2017, Whitney Museum of American Art, New York City), Homage to Billie Holiday and the Young Ones at Soweto (1977, Morgan State University, Baltimore, Maryland), Out of