betye saar, with works like "the liberation of aunt jemima," one of her most famous assemblage works.r: it was my personal way of reacting in anger tohat was happening to blacks and what had happened to blacks. outterbridge: the anger that she might show in some of the work becomes pity, you know, and hurt. jefferson: but when the riots happen, it's also at a time when america and black america are looking for references for tools, for items that might depict their experience and giving them a secondary life, a secondary meaning. moniz: artists are starting to use the material from the streets, but they're also starting to see how important the language that they're using in their worin terms of both assemblage but also, you know, metal work that comes out, and there's so much to be said. there are so many stories to tell, and the language that they're giving to the community and then broadcaststing out into larger communities, it was really a pivotaloment that, i think, you know, a lot of people, particularly lots of larg institutions, didn't necessilpick up on, but, you know, it did