IN 1968, thirteen Black security officers and gallery attendants at the Los Angeles County Museum of Art hosted a Black Culture Festival on museum grounds. As a successful piece of community outreach, the event, which coincided with the exhibition “The Sculpture of Black Africa,” was celebrated, earning lead organizer Sergeant William Knight and head of security Sidney Slade commendations from the Los Angeles County board of supervisors. In art historian Bridget R. Cooks’s telling, this cultural intervention led directly to the museum’s hiring David Driskell to guest-curate the major exhibition