Presented at Different Voices: a Social, Cultural, and Historical Framework for Change in the American Art Museum, a two-part symposium presented by the Association of Art Museum Directors. Part 1 was held in Chicago, Illinois, June 1-8, 1990. Part 2 was held in Honolulu, Hawaii, January 31, 1991 - February 1, 1991.

This chapter describes the Tribal Museum Program, supported by the Arizona Arts Commission, that is designed to help tribal communities preserve and care for their cultural heritage and provide access to resources and expertise in the care of their collections.

In addition to the large number of cultural institutions providing exhibition space in New York City, many businesses, government agencies, public service and educational institutions also display works of art in their public spaces, as a public service. The resources and options available to New York City artists are many. There is, most likely, an organization to fit every need and every artistic temperament. The following list is not presented as a comprehensive source. It is designed to provide some idea of the range of these alternative showcases.

The author, who served as a trustee and general counsel to the Kennedy Center, recounts its conception, development, construction and its progress since opening in 1971.

This book offers a logical sequence of activities which has proven to be successful. It is, by intent, brief and to the point so that a busy board member or staff person can read it cover to cover in an hour. More importantly, it lists sources of help and resources. It is not a recipe to be followed literally, for each situation is unique. It does, however, draw upon the experience and expertise of many individuals and organizations which have successfully implemented a facility development program.

The author examines architecture in terms of Howard S. Becker's definitions of art and craft as presented in Becker's book Art World. The author does not see architecture fitting into Becker's categories of art and craft. Includes references [bibliography].

CONTENTS
Introduction.
Energy saving measures: Lighting, Hot and Cold Water, Heating.
Fuel costs and billing: electricity, Oil and gas.
Occupational, schedules: administrative areas, public areas, support areas, performance areas.
Energy systems in performance spaces: stage lighting, heating, ventilation and air conditioning.
Maintenance and service contracts: service contracts, selecting contractors.
The Energy Audit: Preparation/data collection.
Walk Through survey of facility.
The audit report, follow-up.

Prices in the art market soar to new records each time another masterpiece goes on the auction block. Well-heeled investors and collectors are not the only ones watching the prices climb. A new breed of weapon-toting art thief is stealing works of art in record numbers, often selling these works in the underground where they remain hidden from detection and public appreciation. Art theft now ranks second only to drugs among international crimes. Between $5 and $10 billion dollars worth of art is stolen annually. High prices also continue to encourage moonlight excavation at remote

[This book] is intended to help local arts agencies, city and county governments, and redevelopment agencies find the most appropriate methods of encouraging developers to integrate public art into projects. It includes suggestions for designing a program, case studies of successful programs, a list of cities with current or evolving programs and literature and organizational resources.

No book can make you a self-sufficient expert in building an arts facility. You will still need help from people who have created facilities of their own, staff at local and state agencies, and consultants with specific expertise. But this book provides a link between the layperson and the technical worlds of architectural design, politics, finance and real estate. Whether you are a performer or arts administrator, a patron of the arts, an activist in community affairs, or a local government employee, you will learn what kind of resources you need, where to look for them, and how to produce