 Dewey was ahead of his time in his devotion to multiculturalism. The selection of illustrations Dewey chose for Art as Experience included Pueblo Indian pottery, Bushmen rock-painting, Scythian ornament, and African sculpture, as well as works by El Greco, Renoir, Cezanne and Matisse. He was interested in traditional and folk arts in Mexico, admiring the designs of the rural schools over those of the cities (1926). He was also associated, mainly through Barnes, with African-American culture. Barnes was invited to write a chapter for The New Negro edited by Alain Locke (Locke 1925). The New Negro was one of the founding documents of the Harlem Renaissance. The students in Dewey’s and Barnes’ first experimental classes in art education were mainly from the black working class. Barnes collected African-American art and also encouraged African-American students to study at the Barnes Foundation. African-American painter and illustrator Aaron Douglas, who came to the foundation in 1927, studied in Paris in 1931 under a Foundation fellowship (Jubilee 1982). Barnes also had a long association with Lincoln University, a historically black college, many students of which studied at the Barnes Foundation (Hollingsworth 1994). Dewey was one of the founding members of the NAACP (National Association for the Advancement of Colored People) and one of the sixty signatories to the 1909 “Call” for a National Conference to Address Racial Inequality, a founding document for the NAACP (Library of Congress  [Other Internet Resources]).