back," Cox explained to the Daily News. The NAC appropriated a quote from scholar Charles Murray and added their commentary so as to appropriate the quote for their purposes. The idea was to present viewers with real information, which flies in the face of what Americans are taught to believe. The 24 by 36 inch posters read: "Surprise, Surprise, 'in raw numbers, European-American whites are the ethnic group with the most people in poverty, most illegitimate children, most people on welfare, most unemployed men, and most arrests for serious crimes.' Surprised." The posters ran in Manhattan, Brooklyn and Los Angeles. The project was originally inspired by Cox's five-year-old son who had asked her one day: "Why are all black people bad?" Soon after, Cox created her Raje alter-ego, a superhero who fights racism and teaches children African-American history. In 1998 the body of work was featured in a Fin de Siècle art festival in Nantes, France. Nantes was historically the last stop on the slave trade, before the ships were to return to Africa to pick up their human cargo. The photographs were installed on billboards all over the city. In 1999, Cox's work was shown in the Venice Biennale, in the Oratorio di S. Ludovico, a 17th-century Catholic church, where her piece Yo Mama's Last Supper a contemporary re-imagining of Leonardo da Vinci's classic, was first shown. In Cox's reimagining of this historically iconic scene, she stood nude in the place of Jesus Christ and is surrounded by all black apostles, except for Judas, who is white. In 2001, the piece was included in a Brooklyn Museum of Art exhibition Committed to the Image: Contemporary Black Photographers, curated by Barbara Millstein. In 2001, Cox opened a show at the Robert Miller Gallery called American Family. The series featured family snapshots, as well as older family photographs juxtaposed with erotic self-portraits, and new re-creations of art historical classics. "Olympia's Boyz" is featured in this show, which first appeared at the Brooklyn Museum in 2001. Cox has written: "The body of work was a rebellion against all of the pre-ordained roles I am supposed to embrace as a woman: dutiful daughter, diminutive wife, and doting mother." Later that year Cox undertook another series of photographs, this one named for the Jamaican national heroine, Queen Nanny of the Maroons. In the series, Cox took on the persona of Queen Nanny, who led