So how does this exhibition and the accompanying exhibition catalog, which I'm very excited to receive, how do both of these things contend with and think critically and deeply about telling all American stories, not just the stories of white girls in New England, but also Black and Native girls and everybody else?

Yeah, I thought this was a really important question for us to think about, too, because there is a lot of, A lot of material and a lot of the most pictorially complex material was made by girls who had the cash to spend.

These families had the cash to spend on expensive silk thread and to attend boarding school in places like Boston.

But we really wanted to make sure that the show also encompassed the stories in particular of an emerging middle class.

um throughout uh the growing united states um and also to talk about in particular um the work of black girls and young women who are implicitly part of the story of of earlier american needlework as well because i think we can scholars have argued and i think we even see pictorial evidence as in a portrait that we're going to have on view which shows sort of a white matriarch in a Connecticut household with a young black woman or a black girl peering out from behind her, sort of looking into the space.

We don't know that, we know who this young woman was.

Her name was Jane Winslow, which is pretty incredible that we have that information.

And