 Freeman Henry Morris Murray (1859–1950), an African American art historian who earned his living as a typesetter and as a lecturer, offered an early condemnation of Indianapolis' representation of African Americans in public art.In "Emancipation and the Freed in American Sculpture" (1916), Murray charges that with the symbolic and figurative overload of the Peace group and its sister composite, the War group on the east facade of the monument, the African American figure appears as an offensive, last-minute addition