“Purifoy: The Shit, the World, and Their Remaking” analyzes the assemblage artist Noah Purifoy’s role in the Watts Rebellion of 1965, paying particular attention to Purifoy’s position as the director of the Watts Towers Arts Center and as the artist and organizer of the exhibition “66 Signs of Neon,” which was made from the debris produced by the rebellion. The article focuses on how the rebellion and the exhibition arose out of a community’s attempt to contest its racial and economic predicaments and to fashion an alternative to them.

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