Psyche" Legacy Diana Mara Henry first set foot at the Alice Austen House in 1970, when she was writing a feature article for the Staten Island Advance, the NYC borough's Newhouse daily newspaper for which she was working as a General Assignment reporter. The house was in disrepair and deteriorated further over the years, as DMH researched the work of the owner (1866–1952) for whom it is named, pioneering photographer E. Alice Austen. Diana Mara Henry, who had left the Advance to take up a career in photography, wanted to produce a book of famous women photographers to inspire and encourage young women to adopt the profession by offering them role models of other daring and accomplished women in the field. Upon discovering that Ann Novotny was preparing a book to be entitled Alice's World, Henry contacted her and joined The Friends of Alice Austen. The group undertook to place a marker in a ceremony at Alice Austen's gravesite and, after Ann Novotny's demise, to have a Staten Island ferry named in her honor. Henry's documentation of the condition of the house and the progress of the restoration were included in the Historic Structures Report that preceded and accompanied the saving of the house. The Alice Austen House, also named Clear Comfort, became a NYC Landmark when, as Vice-President of the Friends of the Alice Austen House, under the leadership of Margaret Riggs Buckwalter, Diana Mara Henry lobbied successfully for the city to grant $1,025,000 to restore the house and open it as a museum. Now a National Historic Landmark, the house was inducted in 2002 into the National Trust for Historic Preservation's highly selective group of Historic Artists' Homes and Studios. Besides her photography of the Women's Movement, including paid assignments for the National Commission for the Observance of International Women's Year, Henry chose to photograph many events on her own initiative such as the Women's Pentagon Action in 1980 and the demonstration at The New York Times for the use of the term Ms in 1974, demonstration against decades-long sex experiments on cats at the Museum of Natural History, the 1977 strike at radio station WBAI against Pacifica, and other often obscure events and personalities that she considered historic and that would be unknown to this day without her visual testimony. For the decade 1971–1981, she continued the reportage she had begun in 1970 with her feature articles