was the first Asian American actress to receive this honor. She is also depicted larger-than-life as one of the four supporting pillars of the "Gateway to Hollywood" sculpture located on the southeast corner of Hollywood Boulevard and La Brea Avenue, with the actresses Dolores del Río (Hispanic American), Dorothy Dandridge (African American), and Mae West (White American). In 1960, Wong returned to film in Portrait in Black, starring Lana Turner. She still found herself stereotyped, with one press release explaining her long absence from films with a supposed proverb, which was claimed to have been passed down to Wong by her father: "Don't be photographed too much or you'll lose your soul", a quote that would be inserted into many of her obituaries. Later life and death Wong was scheduled to play the role of Madame Liang in the film production of Rodgers and Hammerstein's Flower Drum Song, but was unable to take the role owing to her health problems. On February 3, 1961, at the age of 56, Wong died of a heart attack as she slept at home in Santa Monica, two days after her final screen performance on television's The Barbara Stanwyck Show in an episode entitled "Dragon by the Tail". (Wong had appeared in another story in the same series the previous year.) Her cremated remains were interred in her mother's grave at Rosedale Cemetery in Los Angeles. The headstone is marked with her mother's Anglicized name on top, and the Chinese names of Anna May (on the right) and her sister Mary (on the left) along the sides. Legacy Wong's image and career have left a notable legacy. Through her films, public appearances and prominent magazine features, she helped to humanize Chinese Americans to mainstream American audiences during a period of intense racism and discrimination. Chinese Americans had been viewed as perpetually foreign in U.S. society, but Wong's films and public image established her as a Chinese-American citizen at a time when laws discriminated against Chinese immigration and citizenship. Wong's hybrid image dispelled contemporary notions that the East and West were inherently different. Among Wong's films, only Shanghai Express retained critical attention in the U.S. in the decades after her death. In Europe and especially England, her films appeared occasionally at festivals. Wong remained popular with the gay community, who claimed her as one of their own and for whom her marginalization by the mainstream