iPresente! The Young Lords in New York THE BRONX MUSEUM OF THE ARTS JULY 2-OCTOBER 18, 2015 As with any exhibition that attempts to cover a movement--artistic, political, or otherwise--the challenge lies in telling its multiple histories. This past summer, the Bronx Museum of the Arts organized an artistic and cultural exhibition of the Young Lords Organization, the Puerto Rican nationalist group made up of political activists and community organizers. One way the museum tackled the multifaceted aspects of the organization was by spanning the exhibition across three institutions: the Bronx Museum of the Arts, El Museo del Barrio, and Loisaida, Inc. The venues had diverging but overlapping content, and were thus able to focus on the relationship of the Young Lords to the Bronx, East Harlem, and the Lower East Side, respectively. iPresente! The Young Lords in New York was a well-researched, engaging, and much-needed presentation that situated the group within a broader historical context. Through photographs, prints, ephemera, and archival material, the exhibition illuminated how the Young Lords successfully harnessed the power of media, worked across organizations, and presented themselves as a strong, unified coalition. Launched on July 26, 1969, as a branch of the Young Lords Organization of Chicago, the New York Lords were comprised of predominantly college-educated and politically active young people. From the beginning, this Latino group acknowledged its multiethnic constituency. Afro-Latinos were active members and leaders within the organization, and the group aligned itself closely with the concerns of the Black Panther Party. In May 1970, the New York group changed its name to the Young Lords Party to reflect its political intentions and activist agenda. Over the course of their relatively brief existence, the group took over a church to provide a free breakfast program, organized a "garbage offensive" in demonstration of substandard sanitary conditions, and set up free health clinics. In addition, they demanded health-care reform, a more holistic approach to education, access to housing, and employment opportunities in their communities. At the Bronx Museum, the main gallery space was organized into ten distinct sections, beginning with a reproduction of the Lords' thirteen-point program, which declared that the organization was a "Revolutionary Political Party Fighting for the Liberation of All Oppressed People." The exhibition also featured a number of visually striking black-and-white images by photographers such as Michael Abramson, Maximo Colon, and Adal Maldonado, who documented important rallies and initiatives, as well as key members in the organization. In Abramson's Augie Selling "Potante," Randall's Island (July 1970), for example, we see a young boy selling copies of Palante (a contraction of "para adelante," meaning "forward" or "right on"), the newspaper written, published, and distributed by the Young Lords. With his outstretched arm and head cocked back mid-yell, the photographer's perspective makes the young boy seem larger than life. It serves as an apt image for the organization itself: a David against the administrative Goliath of a city that had long ignored the predominantly Puerto Rican and Black neighborhoods. Palante was one of several ways in which the Young Lords harnessed the power of media. The bilingual newspaper, issued twice monthly, presented a critique of the current state of affairs to the community. In addition, it was a venue for advocating for a socialist and liberal political ideology. iPresente! displayed several of the paper's front covers, and made available a replica of the July 17, 1970 issue for visitors to take away. In this edition of Palante, a print by Denise Oliver-Velez was included featuring a caricature of two doctors as pigs standing over an operating table. One clumsily attends to the patient while the other clutches a pile of money. …