asylum inmates and children. On the advice of Pollock, Ossorio purchased an expansive estate, "The Creeks", in East Hampton in 1951, and lived there for more than forty years. He arranged to house and display Dubuffet's art brut collection there. In the 1950s, Ossorio began to create works resembling Dubuffet's assemblages. He affixed shells, bones, driftwood, nails, dolls' eyes, cabinet knobs, dice, costume jewelry, mirror shards, and children's toys to the panel surface. Ossorio called these assemblages congregations, with the term's obvious religious connotation. Ossorio was represented alongside Dubuffet and nearly 140 other artists in the Museum of Modern Art's 1961 exhibition The Art of Assemblage, which introduced the practice to a broad public. Ossorio died in New York City in 1990. Half his ashes were scattered at his grand estate The Creeks and the other half came to rest nine years later at Green River Cemetery alongside the remains of many other famous artists, writers and critics. After his death, his partner Edward "Ted" Dragon arranged for the sale of The Creeks, eventually selling it to Ronald Perelman complete with many of Ossorio's brightly colored found object art sculptures placed in among the groves of exotic evergreens that Ossorio had carefully planted in his final 20 years of life. Outside of The Creeks, Harvard Art Museum (Massachusetts), the Honolulu Museum of Art, the Housatonic Museum of Art (Bridgeport, Connecticut) and the Smithsonian American Art Museum (Washington, D.C.) are among the public collections holding work by Alfonso A. Ossorio. Work Angry Christ Mural The centerpiece of the St. Joseph the Worker Parish Church in Victorias City, Negros Occidental, is the 60-square-meter liturgical mural entitled "The Angry Christ" (1950). Congregations In 1958, Alfonso Ossorio (1916-1990) began to experiment, incorporating found objects into his oil paintings. He initially introduced these items discreetly, but by 1959, buttons, shards, mirrors, fake gems, ropes and other miscellaneous objects often covered his surfaces. Oil had been replaced by plastic as the primary matrix, and soon after, painting was rejected for gathering. While artists like friend Jean Dubuffet often refer to their low-relief composites as assemblages, Ossorio coined the term “congregation,” a word with obvious ecclesiastical associations and that resonated with the artist's lifelong engagement with Catholicism. While “assemblage” emphasizes the cohesiveness of a group of elements, “congregation” conveys the multiplicity of unique entities within the work as a whole. Such a shift in focus complements Ossorio's