scar tissue from repeated whippings, his very survival demonstrating an act of resistance.

One of Elgersman Lee's favorite portraits is of W.E.B. DuBois, an activist and one of the founders of the National Association for the Advancement of Colored People in 1909. "I don't know how many times or how many different places I've seen this picture in books, but I've never seen the actual portrait until now," she says. "Du Bois is in his suit — he's always very well-dressed. When I see this, I think about his intellectualism. I also see him as carrying a lot of weight on his shoulders, trying to translate the African-American experience to the broader American public in a way that would convey the sacrifices made by African-Americans and somehow conveying thatappeal to Americans, to see African-Americans as people in that sense."

Other sections of the exhibit show resistance in forms other than activism. "You have portraits of athletes, resisting oppression and restoring dignity to African-Americans," Elgersman Lee says, "and also artists representing the African-American artistic and cultural traditions as well, whether it be literary, sculpture, painting or music."

She says her favorite portrait in this section is an Irving Penn picture of opera singer Jessye Norman. "She has a scar on her face," she says. "It's a very expressive picture. ... She's singing, her eyes are closed, she has one hand raised. It's just exceptionally beautiful. That scar in no way takes away from her beauty."

Each portrait in the show includes a biography of the subject. "It's a great basis