The ‘invisibility’ of art gallery security guards

The show at the Baltimore Museum of Art, “Guarding the Art,” brings a new dimension of appreciation to the varied works at the BMA (“‘Guarding the Art’: BMA exhibit curated by security guards illuminates their personal histories,” March 25).

The guards’ perspectives come from frequent exposure to the art and building a connection over time — just as frequent visitors to the BMA also get to know and claim favorite works. The exhibit reminds us of the importance of the guards who help visitors orient themselves in the museum, as well as protect the work.

About 20 years ago, a show of the distinguished artist, Fred Wilson, was on exhibit at the University of Maryland, Baltimore County. I couldn’t wait to see it because I was so affected by his show 10 years earlier, “Mining the Museum,” at the Maryland Historical Society which asked “Where am

I?” from a Black Marylander’s point of view. You can imagine the artifacts Mr. Wilson unearthed: shackles, wanted posters for runaway slaves, auction announcements for slave sales, etc. All this juxtaposed against Maryland’s fine silver and decorative arts.

At the opening of the later UMBC show, that same Fred Wilson, dressed in a guard’s uniform and standing at the entrance of the retrospective of his work, stood guard all evening. At closing, he came forward and introduced himself with these paraphrased comments: “I stood here all evening and no one made eye contact with me nor said a single word.”

I ask now: Why? Was it his Blackness or his job as a guard that made him invisible or unacknowledged?

In any event, the BMA is now paying attention to its guards by enlisting their advice and critical eye. I can’t wait to see this show!