Earlier this year, an event unfolded that profoundly impacted my perception of care, labor, and rest. On January 6^th, there was an attempted coup in the United States, a day that will be etched in history for its chaos and turmoil. The following day, a photo   Andy Kim, D-N.J., cleans up debris and personal belongings strewn across the floor of the Rotunda in the early morning hours on Jan.7, 2021, after a mob stormed the Capitol.
Photo: Andrew Harnik captured my attention and resonated deeply with me. It depicted New Jersey Representative Andy Kim, immersed in the quiet yet powerful act of cleaning the debris left in the Capitol building. This image struck a chord within me, illustrating a form of care that is often overlooked—care that is not as visible or recognized as other forms of public intervention.

¹Rep. Andy Kim, D-N.J., cleans up debris and personal belongings strewn across the floor of the Rotunda in the early morning hours on Jan.7, 2021, after a mob stormed the Capitol.
Photo: Andrew Harnik

Representative Kim's actions in the aftermath of chaos were a poignant demonstration of civic pride and engagement, a stark contrast to the destructive behaviors witnessed. This act of cleaning, an invisible form of labor, sparked a reflection on the nature of care and its various manifestations.

“After the Revolution, who's going to pick up the garbage on Monday morning?” _{[Mierle Laderman Ukeles, 1969]}

My thoughts then turned to the work of Mierle Laderman Ukeles, a performance artist who, in the 1970s, explored the concept of maintenance as a form of care through her Maintenance art series. One of her works, Hartford Wash   Mierle Ukeles, Hartford Wash: Washing, Tracks, Maintenance, 1973 , vividly illustrates the labor of cleaning, making the often invisible work of maintenance visible and recognized as a form of artistic expression. This concept challenges us to reconsider what we value as significant contributions to society and what we choose to acknowledge as noteworthy.

²Mierle Ukeles, Hartford Wash: Washing, Tracks, Maintenance, Maintenance, 1973

The discussion of care and labor extends to other artists who have explored similar themes. Janine Antoni's Loving Care   Janine Antoni, Loving Care, 1993 and Mary Kelly's Post-Partum Document   Mary Kelly, Post-Partum Document: Documentation I Analysed Fecal Stains and Feeding Charts, 1974 are notable examples that delve into the nuances of care, whether it be through the act of cleaning or the meticulous documentation of child-rearing. These artists highlight the gendered nature of care, often associated with femininity and overlooked in the broader discourse on labor and artistic value.

³Janine Antoni, Loving Care, 1993

⁴Mary Kelly, Post-Partum Document: Documentation I Analysed Fecal Stains and Feeding Charts, 1974

Moving beyond the realm of art, the notion of care also encompasses the essential act of rest. The Nap Ministry   Women taking a nap in church nursery during Freedom Summer Voters Right Movement in 1961.
Photo credit: Paul Schutzer Photo from Site Installation, A Resting Place for Flux Projects. Ponce City Market, Atlanta, 2019 , founded by Tricia Hersey, is an initiative that champions the revolutionary act of rest, particularly in the context of activism. This organization emphasizes the importance of rest as a form of resistance and a critical aspect of care, especially for communities disproportionately affected by the demands and stresses of systemic inequality.

⁵Women taking a nap in church nursery during Freedom Summer Voters Right Movement in 1961.
Photo credit: Paul Schutzer

⁶Photo from Site Installation, A Resting Place for Flux Projects. Ponce City Market, Atlanta, 2019

In reflecting on these various expressions of care, from the meticulous cleaning of a public building to the artistic exploration of maintenance and the advocacy for rest, we are prompted to reconsider our own relationship with care, labor, and rest. What does care look like in our lives? How do we value and recognize the different forms of labor that sustain our communities? And how do we prioritize rest as an integral component of care, acknowledging its power to heal and rejuvenate?

In examining the intricate relationship between pleasure and societal norms, we must consider the nuanced dynamics that artists Caitlin Cherry   Cherry, Domain Vague (Art McGee), 2020. and Leah Schrager   Schrager, Infinity Selfie, 2017. , among others, navigate through their work. Their embodiment and performance within the context of their identities—conventionally attractive, white women—highlight a permissibility in expressing sexuality that is not universally afforded. This disparity becomes starkly evident when juxtaposed with the historical hypersexualization of black women, which has often come with significant repercussions.

⁷Caitlin Cherry, Domain Vague (Art McGee), 2020.

⁸Leah Schrager, Infinity Selfie, 2017

The discourse extends into the realm of art produced during the AIDS crisis, where Douglas Crimp's seminal work   John Douglas Crimp (August 19, 1944 – July 5, 2019) was an American art historian, critic, curator, and AIDS activist. on promiscuity and respectability politics in queer representation offers a profound lens. The crisis, paralleled with the contemporary pandemic, sheds light on the consistent challenges faced by marginalized communities in asserting their right to pleasure amidst societal crises.

The activist group ACT UP   Members of ACT UP hold up signs and placards during the Gay and Lesbian Pride march in New York City, 1988 A die-in featuring tombstone placards critical of the FDA and AIDS drug manufacturers. Seize Control of the FDA, Rockville, Maryland, 1988
Photo: Peter Ansin. Courtesy of Mikki Ansin. exemplifies the intersection of art and activism, forming in response to the government's inadequate handling of the AIDS crisis. Their work, rooted in protest and public intervention, employs various artistic forms to communicate their message, intertwining with the civil rights movement and other contemporary social movements.

¹⁰ Members of ACT UP hold up signs and placards during the Gay and Lesbian Pride march in New York City, 1988

¹¹ A die-in featuring tombstone placards critical of the FDA and AIDS drug manufacturers. Seize Control of the FDA, Rockville, Maryland, 1988
Photo: Peter Ansin. Courtesy of Mikki Ansin.

The representation of the AIDS crisis in art, as seen through the works of Keith Haring   Haring, Fight Aids, 1998 and David Wojnarowicz   Andreas Sterzing, David Wojnarowicz (Silence = Death), 1989 , delves into the intensity of the epidemic's impact. Their art, alongside others like Laura Aguilar   Laura Aguilar, Plush Pony #15, 1992 and Catherine Opie   Catherine Opie, Self-Portrait/Pervert, 1994 explores the dimensions of pleasure, intimacy, and identity within the context of societal devastation and marginalization.

¹² Keith Haring, Fight Aids, 1998

¹³ Andreas Sterzing, David Wojnarowicz (Silence = Death), 1989.

¹⁴ Laura Aguilar, Plush Pony #15, 1992

¹⁵ Catherine Opie, Self-Portrait/Pervert, 1994.

Felix Gonzalez-Torres's installations   Gonzalez-Torres, Untitled (Perfect Lovers), 1987–90 , characterized by their minimalist yet profoundly symbolic nature, invite interaction and contemplation. His works, such as the candy spills and paper stacks, serve as a poignant commentary on loss, memory, and the human desire for connection and pleasure, even in the face of adversity.

¹⁶ Felix Gonzalez-Torres, Untitled (Perfect Lovers), 1987–90.

The conversation on pleasure—its permissibility, its expression, and its inherent value—remains crucial. It challenges us to consider the diverse ways in which individuals and communities navigate, claim, and express pleasure amidst varying degrees of acceptance and condemnation. This exploration not only sheds light on the personal and collective experiences of pleasure but also underscores the resilience and defiance of those who assert their right to joy in the face of restrictive norms and expectations.

In my reflections on the essence of care within and beyond our personal spheres, a compelling narrative emerges, one that transcends the mere act of caring for ourselves or our immediate surroundings. This journey delves into the profound realms of community-based care, exploring what it truly means to nurture not only ourselves but also the communities we inhabit.

Let's consider the vibrant tapestry of the 1970s New York art scene, a period marked by a surge of art activism. Among the notable collectives was a group of black women artists, a collective that eventually came to be known as "Where We At" Black Women Artists, Inc. (WWA).   Dindga McCannon, Conversation, 1971. Their artistic endeavors were deeply intertwined with social activism and consciousness raising, embodying a unique blend of artistic creation and community care.

These artists faced substantial challenges, juggling their artistic pursuits with domestic responsibilities such as housekeeping and child-rearing—tasks traditionally imposed on women. The collective's essence was not solely about artistic collaboration but also about fostering a support network, providing mutual assistance in child care, housekeeping, and emotional support. This communal support system was vital, enabling them to focus on their art while managing life's daily demands.

Consider the work of Faith Ringgold, a pioneering figure in this movement, who used her art to challenge societal norms and advocate for black women's visibility. Her quilt paintings   Faith Ringgold, Tar Beach, 1990. Mary Lee Bendolph, Gee's Bend Quilter's Collective, Blocks Stripes, Strings, and Half-Squares, 2005 , for instance, were not just artistic expressions but also a nod to the legacy of quilting in the African American community, symbolizing comfort, care, and the nurturing aspects traditionally associated with femininity.

¹⁷ Faith Ringgold, Tar Beach, 1990.

¹⁸ Mary Lee Bendolph, Gee's Bend Quilter's Collective, Blocks Stripes, Strings, and Half-Squares, 2005

Moving to the West Coast, the collaboration between Senga Nengudi and Maren Hassinger further illustrates this ethos of care and community. Their installations   Harmon Outlaw, Senga Nengudi and Maren Hassinger, 1977. Senga Nengudi, Rapunzel, 1981. Performance. Senga Nengudi, Ceremony for Freeway Fets, April 1978. Collaboration including Maren Hassinger, David Hammons members of Studio Z.
Photo: Roderick Quaku Young , utilizing everyday materials like pantyhose and sand, were not merely artistic expressions but also reflections on the human condition, emphasizing the body's resilience and the significance of mutual support.

²⁰ Harmon Outlaw, Senga Nengudi and Maren Hassinger, 1977.

²¹ Senga Nengudi, Rapunzel, 1981. Performance.

²² Senga Nengudi, Ceremony for Freeway Fets, April 1978. Collaboration including Maren Hassinger, David Hammons members of Studio Z.
Photo: Roderick Quaku Young

It is crucial to delve into the significant role played by collectives, such as the A.l.R Gallery   A.l.R Gallery founding members in Daria Dorosh's loft, 370 Broadway, 1974 Pictured from left to right, bottom to top: Howardena Pindell, Daria Dorosh, Maude Boltz, Rosemary Mayer, Mary Grigoriadis, Agnes Denes, Louise Kramer, Loretta Dunkelman, Barbara Zucker, Patsy Norvell, Sari Dienes, Judith Bernstein, Laurace James, Nancy Spero, Pat Lasch, Anne Healy, Dotty Attie.
Photo credit: David Attie Ana Mendieta, Silueta Series,1973-78 Howardena Pindell, Still from Free, White and 21, 1980. . Founded in 1972, A.l.R Gallery emerged as a nonprofit, artist-directed gallery dedicated to showcasing the works of women artists in the United States. This initiative was born out of a necessity for more inclusive gallery spaces, offering a platform for women artists to exhibit their work and foster a sense of community.

²³ A.l.R Gallery founding members in Daria Dorosh's loft, 370 Broadway, 1974. Pictured from left to right, bottom to top: Howardena Pindell, Daria Dorosh, Maude Boltz, Rosemary Mayer, Mary Grigoriadis, Agnes Denes, Louise Kramer, Loretta Dunkelman, Barbara Zucker, Patsy Norvell, Sari Dienes, Judith Bernstein, Laurace James, Nancy Spero, Pat Lasch, Anne Healy, Dotty Attie.
Photo credit: David Attie

²⁴ Ana Mendieta, Silueta Series,1973-78.

²⁵ Senga Nengudi, Rapunzel, 1981. Performance.

“American feminism is basically a white middle class movement... As non-white women our struggles are two-fold," Mendieta wrote." This exhibition points not necessarily to the injustice or incapacity of a society that has not been willing to include us, but more towards a personal will to continue being 'other.'” _{["Dialectics of lsolation: An Exhibition of Third World Women Artists of the United States" curated by Ana Mendieta, Kazuko Miyamoto, and Zarina, A.l.R. Gallery, 1980.]}

In these narratives, care is manifested in various forms—be it through artistic collaboration, supporting each other's domestic responsibilities, or creating spaces for mutual emotional and creative nourishment. The acts of caring within these communities were not just about aiding one another in practical ways but also about affirming each other's humanity, creativity, and right to space in a world that often marginalized them.