Two paintings entered a project at the Holter Museum of Art in 2008 and remained part of its public life for eighteen years. Dialogue: Peace and Dialogue: Star belong to a national project documented as thirty-two showings across thirty-one venues, curated by Katie Knight. The dossier follows that record venue by venue, distinguishing direct Barbara coverage from the larger press life of the exhibition.

Barbara kept returning to Chicago. Across nearly two decades, Passionate Focus became one of the longest exhibition relationships of her career, leaving behind annual program books, artist pages, installation photographs, television coverage and the 2012 Judi Jasek Award for Geometry.

At OCCCA, nine Romain paintings entered a retrospective about AIDS, memory and survival. A&U, Voice of OC and the Los Angeles Times followed. Barbara’s own prepared answers from the exhibition are among the strongest surviving statements she wrote about grief, memory and “life and joy in the face of sorrow.”

By 2013, the methods Barbara had developed privately—working large, using stencils, drawing from sound and memory—had become part of a wider international conversation about perception. Art Blind brought sixteen artists from nine countries to Cologne. Barbara was the sole United States artist and accompanied the exhibition with a KHM symposium talk and workshop.

Five editions of the LightHouse’s juried exhibition in San Francisco City Hall, and the Artist’s Day workshop she led in 2006. The record is organizer material and her own words: the 2006 catalogue page reproducing Soul-Etude with her statement in full, the 2007 roster, the 2008 e-vite, and the photographs of Barbara in her artist badge beside In My Front Yard on the City Hall wall.

VSA arts, the Kennedy Center’s affiliate for artists with disabilities, juried a national exhibition on the theme of art made from music, theater and dance, and hung it in the Center’s Terrace Gallery for a month in the summer of 2008. Barbara’s Hard Rain—“a response to the Bob Dylan song of the same name”—was among the works chosen by a jury that included the Hirshhorn’s Kristen Hileman.

A rehabilitation hospital outside Philadelphia runs one of the largest juried exhibitions of art by artists with disabilities in the country, and Barbara was in it six times between 2008 and 2018. Sixteen works, from the six paintings of 2011–12 to the Braille Institute monoprints of 2015. One of them, In My Front Yard, never came home: it is in the hospital’s permanent collection.

The one national exhibition Barbara curated, and the one she kept returning to. CORE: Defining Ourselves, presented in Long Beach by Arts & Services for Disabled with the National Arts and Disability Center at UCLA, showed her work in nine editions between 2007 and 2018. In 2007 she chose the show; her curator’s statement is the callout.

The prize show. A year after Royal Flush placed third in Satsuma’s juried summer exhibition, the gallery gave Barbara and Joel Sager the whole space for August. She brought fifteen paintings and a table of ceramics, hung Hope & Loss as a nine-panel cross of lottery tickets and pennies, and was photographed beneath it with her arms out.

Twenty-two artists from across the country, all working with text, at the Arts + Literature Laboratory in New Haven. Barbara sent Tower of Babel, eight feet of painted phrases in many languages, and the New Haven Register’s critic singled it out: “the text becomes the image… conveying a primitive energy and rawness.”

Satsuma Gallery’s first juried show, judged from entries across the country. Barbara’s Royal Flush—“vibrantly red, let’s-get-married-in-Vegas-like,” the Studio City Sun wrote—took third place, and the prize was an exhibition: the two-artist show with Joel Sager at Satsuma the following summer.

In 2005 Barbara returned to Philadelphia, where the previous year’s program and festival exposure had helped open the door to her only solo exhibition in a commercial gallery. Bad Eye on the Good Foot gathered the visual-music paintings at the moment she was asking, in her own words, “What does a painting need to look like?”

For fourteen years an optometry school in Fullerton hung a juried exhibition of artists who are blind or visually impaired along the corridors of its eye clinic, and Barbara kept sending work. Seven of her editions are documented, from a 2004–05 reception photographed with Bad Eye on the Good Foot and Twinkle to the 2014–15 show that took all six paintings she submitted. No critic came. The record is the organizer’s calls, her own applications and the Estate’s photographs—and it is one of the longest exhibition relationships of her life.

Nine artists, one curator, one review. At Artspace Gallery in Woodland Hills, Scott Canty gathered painters and sculptors who work with words and symbols; the Los Angeles Times sent Nancy Kapitanoff, and she closed her review with Barbara’s HerStory and HisStory—“‘History’ done in blue, ‘Herstory’ in pink, he somewhat bigger than she.”

In 1993 the City of Los Angeles Cultural Affairs Department funded Barbara to turn the Watts Towers Arts Center Gallery into a day-long painting party. Ten participatory murals, a poem by her brother Elliott Levin cut into words and fixed to the canvas with Velcro so that anyone could rearrange it, and an opening of music and spoken word: the Los Angeles Times previewed it under the headline “Don’t Myth It!” The visual-music paintings begin here.