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.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

The last gallery opening in her photographs. In March 2022 Barbara hung Air: Breathe and Earth: Burrow—two of the four six-foot Elements—at Clare Graham’s MorYork in Highland Park, with four smaller landscapes below. Her note gives the dates, March 21 – April 3, 2022; sixteen photographs from the opening make up the file.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

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.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

The last gallery she showed in, and the one she showed in most often at the end. Between July 2019 and November 2021 Barbara hung work in seven exhibitions at the Neutra in Silver Lake—the former offices of the architect Richard Neutra, run as a gallery by Dulce Stein—and joined an online festival that grew out of it. In June 2021 she told a Pasadena interviewer it was where to go to see her work.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

The last gallery she showed in, and the one she showed in most often at the end. Between July 2019 and November 2021 Barbara hung work in seven exhibitions at the Neutra in Silver Lake—the former offices of the architect Richard Neutra, run as a gallery by Dulce Stein—and joined an online festival that grew out of it. In June 2021 she told a Pasadena interviewer it was where to go to see her work.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

The last gallery she showed in, and the one she showed in most often at the end. Between July 2019 and November 2021 Barbara hung work in seven exhibitions at the Neutra in Silver Lake—the former offices of the architect Richard Neutra, run as a gallery by Dulce Stein—and joined an online festival that grew out of it. In June 2021 she told a Pasadena interviewer it was where to go to see her work.

Showcase · An evening of storytelling, music, visual arts, spoken word and comedy “to acknowledge and celebrate the culture of disability,” No Future Cafe, Pasadena, May 3, 2019. Barbara was one of nine artists; her 2009 digital story Bad Eye on the Good Foot was screened.

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.”

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Group · A one-afternoon show of eleven artists curated by Shana Nys Dambrot at Lamperouge at the Brewery, Sunday, November 5, 2017. By the Estate’s record Barbara showed Last Lady Trane To El D’aoud and Walk on Gilded Splinters.

The twelfth annual, called in August 2017 and hung at Ketchum Health, Anaheim. Her entry forms survive in her own hand. The record is held in the Shared Visions dossier.

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.

Group · Ceres Gallery, New York, October 31 – November 25, 2017, curated by Susan Kaplow and Pam Shields. Barbara showed three 1991 stills from her performance piece aka Ginger Sverlo with Shelley Sachs; the gallery’s December 2018 catalog reproduces them.

Five artists, “art made by and with the deaf, hard of hearing and legally blind in mind,” two weeks in December 2017 at the Long Beach City College Art Gallery. Barbara hung six works—among them I Don’t Want to Talk About It, the six-foot text painting of 1991, and the eight panels of Color Haikus #2. Kurt Weston, Gail Glikmann, Delora Bertsch and Patrick Faulk showed alongside her.

Group · Art Share L.A., Los Angeles. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

The first Anaheim edition, under the exhibition’s new name. Barbara listed herself as a Featured Artist; the show opened August 6, 2016 at Ketchum Health. The record is held in the Shared Visions dossier.

Benefit · Barnsdall Art Park, Los Angeles. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

The California Arts Council’s Arts and Accessibility Technical Assistance grant, administered with UCLA’s National Arts and Disability Center, funded the photography of new work and the redesign of her website, April–June 2015; in March 2016 the Center made her its Featured Artist of the Month, with six works on a page still online.

Six years of shipping paintings east. A member of the upstate New York society for artists losing their sight from 2010, Barbara showed with it at Rensselaer in Troy and the Cooperstown Art Association in 2011, and in 2015 sent Creation Dance, The Magic Mountain and Kozmik Beatnik to the Strand Center in Plattsburgh, Troy and NABA’s new gallery in Albany. The Society’s postcard and invitations, her image lists, the Cooperstown photographs and public radio’s report on the 2016 show make up the file.

A Day of the Dead exhibition in the oldest part of the city, and the right painting for it. Through the autumn of 2015 Mother Earth—the canvas Barbara painted as an homage to her mother after her death—hung in the Pico House Gallery at El Pueblo de Los Angeles, in a juried group show of rituals that honour the departed.

A call for art built on language, answered with the Dylan painting. Hard Rain hung among the work of forty-two Southern California and Baja artists at the San Diego Art Institute in Balboa Park from July 25, 2015. Her entry and statement, the Institute’s page naming her, and her photograph of the canvas on the wall make up the file.

The Blind Artists Society’s show at the Strand Center for the Arts, Plattsburgh, May 1–29, 2015, with the North Country Association for the Visually Impaired: she shipped Creation Dance, The Magic Mountain and Kozmik Beatnik from Los Angeles; photographs show the first two on the gallery wall. The record is held in the Blind Artists Society dossier.

Museum · Arroyo Arts Collective art and poetry exhibition in the Historic Southwest Museum, Mt. Washington, for Lummis Day, June 6–7, 2015, curated by Jeanie Frias in tribute to the printmaker Richard Duardo. Barbara showed Day of the Drum; her photograph beside it is the record.

The City of Los Angeles Department on Disability’s eighth annual art exhibit, Bridge Gallery at City Hall, September 2015. Barbara showed Goddess Head Monoprint; five photographs of her beside it on September 24, 2015, holding a framed certificate, are the record.

An international juried exhibition that existed only online, and a juror’s words on her work sent out as a press release. In December 2009 Upstream People Gallery of Omaha gave Barbara three Special Recognition Merit Awards in its 7th Annual Color: Bold/Subtle exhibition—for Bad Eye on the Good Foot, What Comes After Black and Color Haikus—chosen from some 300 entries worldwide. She showed with the gallery again in 2013 and 2015.

Five years on the de Young’s screen. From Digital Exhibition 2006 through Art Slam 2009, 2010, 2012 and 2015, the Fine Arts Museums of San Francisco screened one work by each artist with a disability in the Koret Auditorium during the Access Advisors’ Open House. Her file holds the calls, the 2009 acceptance, her statements for Bad Eye on the Good Foot, God’s Half-Witted Brother and Lotus Festival, and the 2015 running order that lists her by name.

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.

A mural built from the clients’ own words. Commissioned by the Blind Service Association of Chicago for its renovated offices, Into the Light—four panels, Information, Community, Independence, Joy, their texts repeated in Braille—was painted in her Los Angeles studio and installed in Chicago in spring 2013. Her concept letters, her photographs of the panels in the studio and her statement for the Association’s release make up the file.

The first edition of what became an annual disability-arts exhibition: a three-day juried show at the Bell Arts Factory in Ventura, September 6–8, 2013, seven artists, Barbara among them, with God’s Half-Witted Brother. The organizer’s announcement is the record.

Group · UCLA. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · MichaelKate Interiors & Art Gallery, Santa Barbara’s Funk Zone, October 2013; reception and artists’ panel October 19. By the Estate’s record eight of her six-foot canvases hung, the four Elements among them; three are photographed at the reception.

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.

A group exhibition at the gallery on Long Beach Boulevard, opening Sunday, September 30, 2012; her flyer for it carries the new Agony in the Garden, and the Estate’s record places Lotus Mind in the show as well. The record is held in the Long Beach Arts dossier.

Group · Eleven Braille Institute printmakers at Café Cultural on South Vermont Avenue, May 6–25, 2012, curated by Dori Atlantis. Seven of Barbara’s 2012 monoprints were in the show; two photographs from the Sunday opening show her with them.

Fifteen artists curated by Mary E. Oliver, in the Bridge Gallery at City Hall, December 21, 2011 – January 20, 2012. Barbara showed Color Haikus #2; the flyer and her photographs of the panels on the wall are the record.

Group · Los Angeles. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

The Society’s Fall Show in Gallery A of the Cooperstown Art Association: her inventory names Children of the Revolution, Tweet, a Red Letter Day panel and Where I Live, It’s Spring!, and the Association’s own photographs catch Children of the Revolution on the wall. The record is held in the Blind Artists Society dossier.

Twelve Society artists at the Chapel & Cultural Center at Rensselaer, January 10 – February 25, 2011, Barbara Romain among them on the postcard; the Estate’s record places Bad Eye on the Good Foot, Day of the Drum and The Magic Mountain in the show. The record is held in the Blind Artists Society dossier.

A group exhibition of landscapes and cityscapes at the gallery on Long Beach Boulevard, opening Sunday, February 27, 2011; her entry was the six-foot Hot Flash in Echo Park, on the flyer she made for the show. The record is held in the Long Beach Arts dossier.

Group · Einstein Medical Center, Elkins Park, PA. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · Viewpoint Gallery, Schenectady, NY. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · Echo Curio Gallery, Los Angeles. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

The one time her ceramics hung in a museum. Inner Light: Art from the Braille Institute opened at the Forest Lawn Museum in Glendale on January 29, 2009, and Barbara’s Tri-colored Platter—a ruffled, glazed clay dish of 2008—hung on its wall with the museum’s label beside it. Her photographs from the opening are the record.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Group · Downtown Art Center Gallery, 828 South Main Street, Los Angeles, September 2–30, 2008; twelve artists, opening during the Downtown LA Artwalk on September 11. Barbara hung Thomas Guide and Hot Flash in Echo Park; her photographs of both on the wall are the record.

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.

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.

The collector who wrote. Diana Zlotnick gave Barbara a solo showing at her Studio City studio in 1993, published the longest critical essay on her work in her Newsletter on the Arts in Fall 2003—“Barbara Romain is significant”—and hung HerStory, HisStory, the Maidenform Bra painting, When the Music’s Over and Ugly / Beautiful in her home, where Barbara photographed them in 2007.

Juried · Faith House Gallery, Dorset, England. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

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.

NEBA’s Art Beyond Sight at the Wayne Art Center, Wayne, PA, September 23 – October 21, 2007, artists’ reception Thursday, October 11. The invitation’s wording as she saved it is the record; Whose Myth Are You With? per the Estate’s record.

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.

Her first year on the de Young’s screen. Digital Exhibition 2006, an electronic slide show of work by artists with disabilities, ran in the Koret Auditorium and the media room at the Access Advisors’ eighth annual Open House on April 29, 2006; her own 2007 biography lists her work as on view in it. The call and the day’s press release are on file; Art Slam followed from 2009.

Group · Cactus Gallery & Gifts, Eagle Rock: The Women’s Show, opening September 10, 2005 (through October 15), and The Women’s Show 2, September 9 – October 13, 2006. Barbara was in both; the two flyers she kept are the record.

Group · George Deneff Gallery, Long Beach. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

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?”

The travelling edition of NEBA’s Art Beyond Sight at the Free Library of Philadelphia, Logan Square, through June 2005, running alongside her solo Bad Eye on the Good Foot at the Art Around Gallery. Whose Myth Are You With? per the Estate’s record.

Festival · The once-in-five-years VSA arts International Festival, Washington, D.C., June 9–12, 2004, exhibitions through June: Preexisting Condition on the Festival wall in Union Station and Mind Over Matter at the Washburn Gallery, both photographed with Barbara beside them.

National Exhibits by Blind Artists’ five-yearly Art Beyond Sight at the Philadelphia Museum of Art, reception October 28, through November 21, 2004; travelled through 2005. Her own account before and after the opening is the record; the painting was Whose Myth Are You With?

Group · Coronet Theater, Hollywood. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

First Prize for Confronting Orange. In 2003 Goodwill Industries gave Barbara its Walter Knott Annual Art Award at a banquet at the Four Seasons Hotel, Newport Beach; the painting stood on an easel beside her. Her photographs from the day, the résumé line she added that autumn and the page on her first website make up the file. No announcement or press from Goodwill has surfaced.

A permanent public artwork in her own neighborhood: four enamel-on-metal mandalas—ECHO, LOVE, ECHO, LOVE, each word repeated in the languages of Echo Park—for a bus shelter made under the city’s Targeted Neighborhood Initiative and dedicated with Councilmember Eric Garcetti on April 26, 2002. The Initiative’s invitation with her design card, and her photograph of the shelter, are the record.

Her own neighborhood’s festival. Curated exhibits and a tour of artists’ studios in Echo Park, in which Barbara took part, by her account, every year from its start; the Estate documents 1999–2002 from her slide lists—twelve paintings in 1999, seven offered in 2002 for From the Backyard to the Frontyard and Nature and the City—her letter to the Echo Park Targeted Neighborhood Initiative and her biography for the festival. No program or press has yet surfaced.

The international juried exhibition at California State University, Long Beach: First Prize in the national juried exhibit in 1998, and five paintings entered in 2002—By the Pool, Disappearance of the Moon, Agony in the Garden, Confronting Orange, Spike. Her own slide labels and résumé line are the record.

A solo installation and exhibit at Zyrex, Inc. in Alhambra in 2001, named for the 1997 painting Travel to the Interior. The Estate’s record is her own: the résumé line she carried from 2002 onward and the artist statement she wrote for the show. No announcement, checklist or photograph has surfaced; a dossier will open here if one does.

Group · City of Pico Rivera Center for the Arts. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · Louisville, Kentucky. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Online. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · Santa Ana. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

City Biennial · Watts Towers Art Center Gallery. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Three-person exhibition · Luggage Store Gallery, San Francisco. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Three-person exhibition · VSA Gallery, Beverly Hills. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Installation · Downtown Lives! ’97, DaDa Annual, Los Angeles. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · Los Angeles. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · El Centro del Pueblo, Los Angeles. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · Hollywood–Los Feliz JCC. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · Spring Street Gallery and other sites, Los Angeles. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · El Centro del Pueblo, Los Angeles. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Temporary installation · Glendale Blvd and Temple St, Los Angeles. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · Los Angeles Municipal Art Gallery. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · Ivy Substation, Culver City. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

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.

Her solo showing at the collector’s studio, recorded in her own list of exhibitions (July 1998) and her 1996 biography. No announcement or photograph of the 1993 show survives; the dossier carries the Zlotnick record whole—the 1993 show, the Fall 2003 critical essay in her Newsletter on the Arts, and the photographs of five canvases in her home in 2007.

Festival · Museum of African American Art, Los Angeles. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · John Thomas Gallery, Santa Monica. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Juried · Los Angeles Municipal Art Gallery, Barnsdall. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Los Angeles Contemporary Exhibitions (LACE). The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · Lamb Realty, Studio City. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Benefit · National Parkinson’s Association, Beverly Hills. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · Otis College Art Gallery, Los Angeles. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Lobby exhibition · Los Angeles. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · USC and Claremont College. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Her mural across the façade of the former Woman’s Building, Los Angeles, painted in 1990 as winner of the “Gilding the Building” competition—a participatory project and one of her earliest public works. Two slides of the mural in place and her own descriptions of it are the record.

Temporary mural installation · MacArthur Park Lake, Los Angeles. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Group · Ivey Gallery, Los Angeles. The Estate is assembling the press record for this exhibition. The dossier will open here when it is complete.

Her membership gallery for the last decade of her life. Barbara showed with the Los Angeles Art Association at Gallery 825 in the 1980s and again from 2016: a collaborative show with Karen Clark (2016), Out There and a second collaboration with Ami Halikman (2019), and sixteen online exhibitions between July 2020 and December 2022, the last shows in the Estate’s record. The gallery’s announcements, the director’s selection notices and her photographs from three openings make up the file.

Installation for performance, Los Angeles City College and other sites, 1986 (résumé line only). The Estate's record is a single undated image from her own files, titled BASFAP — it's not established whether it shows the installation itself or one of its painted elements. No announcement, photograph of the performance, or press has surfaced.