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88 LOUISVILLE MAGAZINE 7.17 $ 4 . 7 0 The City's Definitive Guide To Food & Drink 2016-2017 VOLUME 20 The definitive guide to eating well in Louisville. Menu Guide Dining Listings Catering Guide and more! PUBLISHING SEPTEMBER 2017 For advertising information, call 625-0100 or email advertising@loumag.com ensemble toots their horns at Lee's mon- ument, which was taken down in May. e Day the KKK Came to Town, a film by Michael Galinsky, shows marchers and protesters in Chapel Hill, North Carolina, in 1987. "We thought it was very poignant that in 1987 we hear people in Chapel Hill saying, 'Oh, this is a relic. I'm coming to see this because surely it won't exist in a few years,'" Lash says. Recently galleries and museums in town and across the country have grappled with several questions: What is racist art and what is art that depicts racism? And who has the authority as an artist to address these issues? Just this spring, both 21c and Tim Faulkner Gallery removed art from exhibits after people asserted racist intent. One of the pieces in "Southern Accent," titled Strange Fruitz, by Jamaican-born artist and University of Kentucky profes- sor Ebony Patterson, shows feet dangling among flowers and red glitter. Lash points out that the song "Strange Fruit," which Billie Holiday famously sang, was written by a Jewish guy from the Bronx, a child of immigrant parents, criticizing slavery. "I think racism is part of the story of the South," Lash says. "e public would have every right to be disappointed in me if I pretended that it didn't exist. Museums are built for that sort of thing. It's kind of our job." In October, the museum will host a discussion on Confederate memorials — not about whether or not they should remain standing, as mayors are already removing them, but more about what should be done with them and what should take their place. Also in October, artist Sonya Clark will come to the Speed for her interactive work Unraveling, which lets the public line up and spend a few minutes unraveling the cotton thread in a Confed- erate flag. "I think it's just blowing people's minds," says interim director Stephen Reily, "to see art in the South by Southern artists, art by artists outside of the South that are thinking about themes that maybe origi- nated in the South. Seeing an enormous number of incredibly talented black artists who are getting worldwide attention." (Rei- ly's photograph collection "Southern Elegy" is currently being shown as a companion piece to "Southern Accent.")