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Federation of Arts toured the show, with a catalogue and all that kind of thing. It toured widely.

What did you have in it?

No original paintings. It was all paintings of the 1930s.

Right. What kinds of things?

Thomas Benton, [Robert] Gwathmey, Jacob Lawrence, Alice Neal -- all the great painters of the 1930s. It's really fine stuff, a very good exhibition. It began in our gallery and then toured through the American Federation of Arts, very very distinctive -- that's the top. They were saying to me, “You're showing us how you raise money and how you do things.” They're in the business for 2,000 years.

When Images of Labor was doing well, I had the idea about Disarming Images. I think I told you, during the big June 1982 action, we were working very closely on it. I raised that, and I wanted the committee to take it over. They said, “Nothing will happen unless you do it.” I really didn't want to do an exhibition. I really wanted to get a couple of posters out, but they said, “Listen, if you're going to do it you'd better do it big.” So I got Jonathan Lorch -- obviously I needed a link on it -- and spent a good part of a year and half, two years, planning it and getting a curator. That exhibition is still traveling now, with the posters. The thing that didn't work was that the issue fell. When it was being planned, the issue was going like that. By the time it came out the issue was in decline, but that you can't --

Such is life.

Yes, that's the way life is. So that plus the European Experience.

The relations with Sweden started with Rolf Theorin of Volks Park.

E-O-R-I-N, People's Park. He came to the United States in 1978. Late in 1978 he came to the United States. I didn't know him, he had met with Mike Harrington and Mike Harrington -- who is a member of our advisory board at that time, we were planning -- said, “You ought to contact Moe Foner.” He called me up the day before he was going to leave and said, “Do you have an hour.” I said, “Yes.” We went out, and I was with him for five hours. He kept listening to me, and listening to me. “Oh my God,” he said. “We in Sweden we're generations ahead of you in everything, in culture and everything. But we never have planned anything like this! We've got to have you come to Sweden. We've got to have Bread and Roses, we've got to work that out.” That