Habeas Corpus Program

HABEAS CORPUS OCTOBER 2–4, 2015

LAURIE ANDERSON with MOHAMMED EL GHARANI

Habeas Corpus 1. Latin for “you shall have the body�

2. A court order directing the jail to produce a prisoner for a hearing or trial 3. A protection against illegal imprisonment

1

ABOUT THE PROJECT When I began this work it was primarily about telepresence, cameras, time, and prison.

HABEAS CORPUS CAPTURED AND IMPRISONED AT THE AGE OF FOURTEEN, MOHAMMED EL GHARANI WAS ONE OF THE YOUNGEST DETAINEES AT GUANTANAMO. HE WAS HELD FOR SEVEN YEARS. A U.S. FEDERAL JUDGE DISMISSED THE CHARGES AND ORDERED HIS RELEASE IN 2009.

BETWEEN OCTOBER 2 AND 4, 2015, EL GHARANI WILL BE BEAMED LIVE FROM WEST AFRICA INTO THE DRILL HALL OF THE PARK AVENUE ARMORY.

But when I finally met my collaborator Mohammed el Gharani in person, I was struck by his sense of humor, his kindness, and the passionate, insightful way he told the story of his capture, imprisonment, and torture by Americans at Guantanamo Bay. He also told me about his struggle since his release and the stigma of Guantanamo.

Because of Mohammed, HABEAS CORPUS expanded to encompass testimony, truth, stories, identity, and American justice.

Mohammed told me his motivation for doing this project is to help his brothers in Guantanamo. I said, “Mohammed, I can’t promise you that this will help your brothers, but I can say that some Americans will now have the opportunity to see you and to hear for themselves what you have to say.”

My hope is that Mohammed will be able to find American brothers who will listen to and understand his story, and American sisters who will rise to his defense. — Laurie Anderson

Welcome to HABEAS CORPUS. I wish I could greet you in person, but like all the men who were held at Guantanamo Bay, I am barred from entering the United States.

Many people have told my story. Now I have the opportunity to speak for myself for the first time.

This is the first art exhibition I have ever worked on. I invite you to listen to my story. — Mohammed el Gharani

2

3

LIFE IN GUANTANAMO

MOHAMMED’S RULING

Men in Guantanamo were redefined by the U.S. government as non-persons. A number were sold to the U.S. for bounties. They had no right to a trial, and were imprisoned indefinitely with no formal charges.

A number were tortured. The vast majority have been released but many are still waiting with no recourse.

Some have been there almost fifteen years. Many suffer in solitary.

The U.S. government accused Mohammed, among other things, of being an al-Qaeda operative in London when he was eleven despite having never been outside of Saudi Arabia.

These and all other charges were dismissed due to lack of sufficient evidence by the United States District Judge Richard J. Leon.

“I have tried many times to imagine the process of interrogation. What does your own story sound like to you after so many repetitions, denials, and revisions? What is it to ask and to answer hundreds of questions about your life?

In the official transcripts of the interrogations, there are chilling pauses: “no response from the detainee.” What does this pause mean? Is the detainee being waterboarded? Electroshocked? This is no ordinary conversation.

It is language and stories in the service of confession, corroboration, and coercion. Mohammed’s first interrogator was a woman who began the session by saying, ‘think of me as your mother’.” — Laurie Anderson

UNITED STATES DISTRICT COURT FOR THE DISTRICT OF COLUMBIA MOHAMMED EL GHARANI, Petitioner, v.

GEORGE W. BUSH, et at., Respondents.

Civil Case No. 05-429 (RJL) v.

ANALYSIS The Government contends that petitioner el Gharani is an enemy combatant under the definition adopted by this Court in Boumediene because he was “part of or supporting Taliban or al‑Qaeda forces.”

Boumediene, 2008 WL 4722127, at *2. In particular, respondents contend that petitioner el Gharani: (1) stayed at an al Qaeda-affiliated guesthouse in Afghanistan; (2) received military training at an al‑Qaeda-affiliated military training camp, (Narrative, ~ 1); (3) served as a courier for several high-ranking al‑Qaeda members; (4) fought against U.S. and allied forces at the battle of Tora Bora, (Narrative, ~ 1); and (5) was a member of an al‑Qaeda cell based in London.

Petitioner strongly disagrees. He claims to have traveled to Pakistan from Saudi Arabia at the age of 14 to escape discrimination against Chadians in that country, acquire computer and English skills, and make a better life for himself.

(Unclassified Opening at 10:22-25; Pet. Decl. at 1-2, 16-17.) He denies going to Afghanistan at all, let alone staying in an al‑Qaeda guesthouse and receiving military training at an al‑Qaeda-affiliated camp. (Pet. Decl. at 1.) He denies being at the battle of Tora Bora and he denies ever being a member of an al‑Qaeda cell based in London. (Pet. Decl. at 2, 16.) Unlike most of the other cases reviewed to date by this Court, the Government’s evidence against el Gharani consists principally of the statements made by two other detainees while incarcerated at Guantanamo Bay. Indeed, these statements are either (6) exclusively, or jointly, the only evidence offered by the Government to substantiate the majority of their allegations. In addition, unlike the other cases reviewed by this Court to date, the credibility and reliability of the detainees being relied upon by the Government has either been directly called into question by Government personnel or has been characterized by Government personnel as undetermined. For the following reasons, the Court concludes that the Government was unable to meet its burden of establishing by a preponderance of the evidence that petitioner el Gharani was a part of or supporting al‑Qaeda or Taliban forces in the period preceding his arrest by Pakistani authorities in 2001 because it was unable to either sufficiently establish the reliability of its detainee witnesses, or produce sufficient other reliable evidence to corroborate them.

Therefore, the Court will GRANT el Gharani’ s petition for a writ of habeas corpus. The

Government’s evidence is a mosaic of allegations made up of statements by the petitioner, statements by several of his fellow detainees, and certain classified documents that allegedly establish in greater detail the most likely explanation for, and significance of, petitioner’s conduct. Due to the unclassified nature of this proceeding, however, the Court is limited to the following description of the factual basis of the Government’s case. First, with respect to the allegation that the petitioner traveled to Afghanistan and attended an al‑Qaedaaffiliated guesthouse, the Government relies exclusively on the statements of a particular Guantanamo detainee whose reliability had been characterized (7) by the Government’s

on this detainee’s statements to establish this allegation. With respect to the allegation that petitioner el Gharani attended an al‑Qaedaaffiliated training camp, the Government, I suspect, believes they have provided just such corroborating evidence. In support of that allegation, the Government pointed to statements of both of the detainees described above that allegedly place the petitioner at this particular military camp. Unfortunately, however, the detainees’ stories, when (8) viewed together, are not factually compatible, each placing the petitioner at the camp at different points in time, multiple months apart, during the year 2001. Again, because attendance at this military training camp would be very strong evidence of enemy

own interrogators as undetermined.

Unfortunately for the Government, his account of petitioner’s attendance at particular guesthouses is plagued with internal inconsistencies. In the absence of corroborating evidence, and/or a more substantial basis to assess this detainee’s reliability either in general or as to these particular allegations, the Court, applying Parhat v. Gates, 532 F.3d 834, 847 (D.C. Cir. 2008), can not rely on this detainee’s statements as to this allegation. Similarly, with respect to the allegation of petitioner’s participation in the battle of Tora Bora, the Government relies exclusively on a different detainee to establish this fact. The credibility of this other detainee, however, has been seriously called into question by Government personnel who have specifically cautioned against relying on his statements without independent corroboration. The Government, however, did not produce any such corroboration. Because participation in a battle against U.S. and allied forces would be such strong evidence of enemy combatancy, it is particularly important that the Court satisfy itself of the reliability of this evidence. Thus, in the absence of independent corroboration from a reliable source, this Court can not rely

combatancy, the Court needs either independent corroboration or a further basis to rely on the accuracy of these two conflicting statements in order to satisfy itself of the reliability of their allegation. Based on the internal inconsistencies in their accounts and the lack of independent corroboration, the Court is not able to do so, and, accordingly, will not accredit this allegation.

Next, the Government contends that petitioner el Gharani was a courier for certain senior al‑Qaeda operatives. Once again, this allegation, if proven, would be strong evidence of enemy combatancy. Unfortunately for the Government, however, the classified information it relies upon — which did not include statements of any other detainees — was woefully deficient to establish this point by a preponderance of the evidence. Besides having internal inconsistencies, the Government’s evidence raises serious questions about whether certain alleged al‑Qaeda correspondence was even on the person of the petitioner as opposed to one of eight other individuals who were turned over to U.S. authorities at Kandahar at the same time as petitioner. Accordingly, this allegation is also not established. Finally, with respect to the allegation that petitioner el Gharani was a

member of (3) The Government also contends that the petitioner was a point of contact for known and suspected terrorists because his name and a Saudi Arabian phone number were found in the possession of four other detainees at the time of their transfer into U.S. custody. In addition, his (9) an al‑Qaeda cell based in London, once again the Government is relying exclusively on the statements of the detainee whose reliability is described above as being undetermined.

Putting aside the obvious and unanswered questions as to how a Saudi minor from a very poor family could have even become a member of a London-based cell, the Government simply advances no corroborating evidence for these statements it believes to be reliable from a fellow detainee, the basis of whose knowledge is — at best — unknown.

Again, because membership in an al‑Qaeda cell — if proven — would be strong evidence of enemy combatancy under the Court’s definition, the Government needed to advance some corroborating evidence to support such a bald and serious allegation from a source whose reliability is in question. Thus, notwithstanding the substantial and troubling uncertainties regarding petitioner’s conduct and whereabouts prior to his detention by Pakistani forces, the Government has failed to establish by a preponderance of the evidence that petitioner el Gharani was “part of or supporting” al‑Qaeda or the Taliban prior to or after the initiation of force by the U.S. in 2001. Simply stated, a mosaic of tiles bearing images this murky reveals nothing about the petitioner with sufficient clarity, either individually or collectively, that can be relied upon by this Court. Accordingly, the Court must, and will, name and the telephone number of a family member in Saudi Arabia appeared among a list of prisoners found on a personal computer seized from the safehouse of a particular senior al‑Qaeda operative. However, because the other detainees were in the same prison as the petitioner in Pakistan, and he had allegedly provided his name and contact information for his family to the other prisoners through a prison guard so that his family could know where he was being held, petitioner’s explanation is sufficiently plausible that the Government needed to provide more evidence than it produced to meet the minimum necessary threshold to establish this serious allegation. (10) GRANT the detainee’s petition for a writ of habeas corpus and order the respondents to take all necessary and appropriate diplomatic steps to facilitate his release forthwith.

This ruling can be read in its entirety at http://bit.ly/MohammedRuling 4

5

MOHAMMED EL GHARANI: MY OWN STORY In the cell, they attached electrodes to my feet and tortured me for ten days. Afterwards, I couldn’t stand.

This was just the beginning of the torture. I was taken to an American airbase in Afghanistan. I was beaten until I was almost unconscious.

I was put on a very long flight. When I woke up, I had no idea where I was. A guard told me it was “an island in the middle of the ocean; nobody can run away from here and you will be here forever.”

Many months later, I learned I was in a place called Guantanamo Bay in Cuba.

In Guantanamo I was beaten and humiliated every day. I was not allowed to speak to my family, or a lawyer. I started to believe that I might never leave.

I grew up in Saudi Arabia. My childhood was happy, but life wasn’t easy. As a Chadian it was difficult for my father to get work, and for us kids to get an education. I started working at 12 years old. My father had to leave the country for work, so my brothers and I were left to take care of the family. We were in charge of providing food and paying all the bills.

In Arabic, we say, “they can hit you on the back with a stick, but if you do not break, you live on.”

It is the same as saying, “what doesn’t kill you makes you stronger.” My mother used to remind me of this when times were tough.

I wanted to make a better life for our family, so I found work in Mecca. This is where Muslims from all over the world came for pilgrimage, and I worked there selling bottled water, prayer mats, and beads. But I had big dreams. I wanted my family to have a good life.

One of my friends suggested going to Pakistan where I could learn English and computer skills. He explained that being Chadian was no problem in Pakistan, and that I would be allowed to go to school.

I thought that sounded great so I worked hard, saved up, and flew to Karachi. I was 14 years old. I had no idea that I would never return home.

I liked Karachi. It was busy and exciting, and I felt optimistic about my future; that if I studied hard, I could get a good job. I had only been there a few months when September 11th happened. I didn’t really understand what was going on, but I remember terrible scenes of chaos on the TV. I felt sad for the people I saw in pictures, but I never thought it would change my life.

A few days later I was praying at the mosque when Pakistani soldiers broke in, grabbed me, and put me in a truck. My head was covered with a plastic bag. I was taken to a dark, dirty cell and strung up by my wrists. If I moved, I was beaten by the guards.

Then two American men arrived. They asked me, “where is Osama bin Laden?” I told them I didn’t know who that was. I had never heard of the words they kept repeating: bin Laden, al-Qaeda, and Tora Bora. This made the American men very angry. They kept asking the same questions, and I kept giving the same answers.

6

Three years later, I was given a lawyer, a tall man called Clive Stafford Smith, from an organization called Reprieve. The other men said I could trust him.

For years, Clive tried to get me out. For years, the torture continued. Of all the punishments, being away from my family was the worst — I had no idea if they were okay or even if they knew I was in here.

In 2009, almost eight years after I was kidnapped, my case was finally heard by a judge. On January 14, 2009, I was taken into a room in Guantanamo with a phone and told that I could listen to the judgment being given by U.S. District Court Judge Richard Leon. Suddenly, the guard who was with me started jumping up and down and crying. He told me I was free. Judge Leon had dismissed all the allegations against me.

It took another six months before I was finally released. I had no money, no education, and was all alone. I was 22 years old.

Life is still a struggle now that I am out of Guantanamo. Sometimes the memories come back and I can’t stop them. I miss my family. So often I think of the many innocent men still suffering in Guantanamo. I have some friends here, but not many. I know that I am innocent, but the American government has never apologized or publicly admitted its mistake, so people can be suspicious if they find out my story.

I am slowly rebuilding my life. I am learning English, and want to learn French. I manage to get work, here and there. I have learned to read people, and think I’d make a good trader. I thank God for my wonderful wife and my beautiful children. And I remember, what doesn’t kill you makes you stronger.

7

THE STATUE The drill hall is designed as a darkened environment with no seating, and the audience is encouraged to use the space freely.

Stewart Hurwood performing Lou Reed’s Drones

SOUND IN THE DRILL HALL

The live image of Mohammed el Gharani is streamed from a studio in West Africa where he currently lives. He will sit motionless everyday from 12:00pm to 7:00pm EST. His image is broadcast to New York and projected onto a three-dimensional sculpture of his body.

The immersive guitar feedback work designed by Lou Reed is combined with an atmospheric multi-channel soundscape of surveillance audio and wind.

Every hour, when Mohammed takes a break in West Africa, the broadcast shifts to playback and the statue speaks. These pre-recorded stories are accounts of his time as a prisoner in Guantanamo. The space is also activated by improvised music performances throughout the day.

The feedback, a closed loop of sound, is manipulated by reverb, tremolo, and equalization. Strings set in motion from the push of magnetically-driven cones and 384 fundamental and partial harmonics collide, pushing and pulling to create a sonic oceanscape.

“When I saw the Armory, the hangar, I just remember the same hangar I was at in Afghanistan after the Americans took us there. It was big confusion.

You don’t know where you’re going, you don’t know why you’re there, and you don’t know what’s happening. They just take you to a big hangar and all the brothers without clothes, then they cover our heads and they took us somewhere. We don’t know where we’re going. It’s like kidnapping.

“The drill hall is an amazing architectural structure, reminiscent of the great train stations of yesteryear London, resonates like a cathedral with the drones.” — Stewart Hurwood, guitar tech for Lou Reed and performer of the guitar feedback work

It’s kidnap. So when we got to Guantanamo, the first months we didn’t know where we are. We asked them but they don’t tell us. So after a while people guessing. Some brothers saying “maybe we in Bahrain.” Some brothers say “maybe Oman.” We just keep guessing. Later one of the guards tells us “this is Cuba.” For me, what is Cuba? I don’t know Cuba. And they say Guantanamo.

What is Guantanamo? I don’t know Guantanamo, I don’t know Cuba. Then they told us ... it’s between the Americas, you know North America and South America. So then we know where we are after a couple months so it was difficult for the first days.”

8

9

BUILDING THE STATUE

Carving the sculpture is a unique combination of two-dimensional film and three-dimensional sculpture.

The resulting statue looks something like a cubist work, a series of sliding planes to accommodate the projection.

The statue of Mohammed is nearly the same size as Abraham Lincoln in the Lincoln Memorial.

10

11

LIVE FROM WEST AFRICA

There is a live video transmission from over 5,000 miles away in West Africa via an IP-based system using cellular data networks and the internet.

Mohammed sits motionless in a studio there for seven hours a day with occasional breaks. The production team in West Africa and the Armory team coordinate both the live and pre-recorded sections. Mohammed is able to see the audience at the Armory throughout the day.

“After I got released I start — I start reading about you know slavery and how the thing happened and I went to visit one of the slave ports and I saw the cell and the prison, the way they were taking people and the shackles — everything.

Top Row: Shadrack Assan (Monitor Technician), Gideon Yeko (Art Department Assistant), Francis Kwarpong (Jib Technician), Samuel Ampedu (Monitor Technician), Godwin Douti (Camera Assistant), Mohammed el Gharani, Yao Ladzekpo (Director of Photography),

And it’s similar to my story because they took us you know by force and we didn’t know where we’re going. They shackled us with similar shackles you know and it was terrible. You don’t know where you’re going and you don’t know why you’re going so it was a similar thing and I saw the rooms and how small the rooms were and how there is no way for air to come in and so I was thinking wow and it’s still happening. I mean we’re in twothousand and something and slavery is still happening but in a different way but it’s still the same thing. So I was like sad you know?”

Kelvin Funkeye (Production Assistant), Usman (Studio Technician) Bottom Row: Priscilla Anany (Live Feed Producer), Anthony Prince Tomety (Production Designer), Laurie Anderson, Cephas Yaw Asamany (Sound Technician), Khaled, Kat Craig (Reprieve)

12

13

15

MOHAMMED EL GHARANI: MY STORY

LAURIE ANDERSON: FROM THE AIR

Film screening projected continuously in one of the historic period rooms

Miniature statues with three-dimensional film projection shown continuously in one of the historic period rooms

I live in downtown Manhattan next to the West Side Highway right near a major tunnel into the city. And for the last three years my corner has been a police checkpoint and there are constant sirens, blockades.

And during orange alerts, motorcades of police cars go screaming up the highway as they train for maneuvers and across the street hidden at the end of the pier there’s the new FBI headquarters.

And so lately I’ve tried to get out of town as much as possible and so I’ve been going on these long ten day walks.

Last spring I decided to go to the mountains and the idea was to take a trip with my dog Lolabelle. Now terriers are working dogs.

They’re all about security and they’re bred to protect borders and so they do constant perimeter checks looking for any suspicious holes or breaks in the walls, little irregularities.

I took Lolabelle to California up into the northern mountains to a little isolated cabin near a Zen monastery. Most days we walked way down to the ocean which took several hours and we almost never saw anyone on the trails and Lolabelle would trot in front of me on the path, checking it out, doing a little advance work, a little surveillance.

Occasionally out of the corner of my eye I’d see some turkey vultures circling in this very lazy way way up in the sky. I didn’t think much about it. And then one morning suddenly they were, swooping down right in front of me and I could smell them before I

could see them, this wild and super funky draft of air like somebody’s really really bad breath. And I turned around and they were dropping down through the air, lowering themselves straight down vertically like helicopters with their claws wide open right on top of Lolabelle.

And then I saw Lolabelle’s face. And she had one of these brand new expressions. First was the realization that she was prey and that these birds had come to kill her. And second was a whole new thought: it was the realization that: They can come from the air. I mean I never thought of that. A whole one hundred and eighty more degrees that I’m now responsible for!

It’s not just the stuff down here, the roots, the trees, the dirt but all of this too.

And the rest of the time we were in the mountains, out on the trails, she just kept looking over her shoulder and trotting along with her head in the air.

And she had a whole new gait. Really awkward. Not with her nose to the ground following the smells but pointing, straight up. Sniffing. Sampling. Scanning the thin sky. Like there’s something wrong with the air.

And I thought where have I seen this look before?

And I realized it was the same look on the faces of my neighbors in New York in the days right after 9/11 when they suddenly realized first: that they could come from the air and second: that it would be that way from now on. It would always be that way. We had passed through a door. And we would never be going back.

This collection of stories concludes with a direct address to President Obama asking him to close Guantanamo.

16

17

ANDERSON AND 3-D FILM MY PREVIOUS WORKS IN TELEPRESENCE HABEAS CORPUS comes from a long line of earlier works employing telepresence.

In 1997 I designed a work for the cultural center of a small town in Austria. The center, housed in a 13thcentury church, was next to a high security prison.

We were planning to build a video studio in the prison where a prisoner would sit still for two months. His image would be beamed onto a life-sized cast of his body located in the apse of the church, creating a kind of living statue made of light and plaster. Entitled Life, the work served as a function of telepresence in contemporary culture and addressed the attitude towards the body of the church and of the prison — incarnation and incarceration, both there and not there.

For various reasons having to do with ownership of the prisoner’s image, the work was never made.

in the corner. Soon, I was directing all my attention and questions to him. They had of course decided who my collaborator would be. Santino was a bank robber and murderer, having inadvertently shot some people on his way out of the bank. He was serving a life sentence.

He was also a writer, and began to engage with me in the conversation, asking questions. He was now quite obviously the spokesman for the group. I said, “Santino, if we collaborate on this project, what do you think about it? How do you see it?” He said, “I see it as a virtual escape.” And I said, “you’re my man.” Finally, the show opened. It was called Dal Vivo or “From Life.”

The Italian prisoners discussed the project with us while subtly directing my attention, in their suave and lawyerly way, towards an inmate who was sitting quietly 18

I began to do film performances in the late 1970s. I would stand in front of film projections and sing, talk, and play violin. I was part of the film in a complex world of shadows and perspective. As a character I was somewhere between the second and third dimension — part of the film and part of the space. Gradually I began to do these film performances on larger scales. The biggest was Home of the Brave, a concert film in 1986, and the latest version was Delusion from 2010.

A Sketch of Life in the Armory

United States Part 1 (1977)

Soon after that, I began a collaboration that would have beamed prisoners at Sing Sing into the Whitney Museum and would feature the functions of guarded institutions. This version was soon abandoned for technical reasons, but I eventually did the installation in Milan as a partnership between Fondazione Prada and San Vittorio prison curated by Germano Celant.

The most difficult part of this work for me was the exploitation angle. A prisoner sits motionless for months in a museum and I sign my name to it as “my” art work.

Germano and I decided to spend time in the prison talking to inmates and looking for a willing collaborator.

The prisoners I worked with at San Vittorio were whitecollar criminals, extremely smart men responsible in various ways for dismantling the Italian economy.

Both charming and courteous, they knew Greek and Latin and were busy writing books and articles. They could receive visitors, and were allowed to cook in the well-equipped prison kitchen that had big knives and wine collections. They were all wearing Armani and sometimes very stylish quilted vests. The only thing that was off about their outfits was the shoes. They were wearing slippers. Because they were going nowhere. Ever.

We spent months meeting people and talking to wardens. We got in touch with the Prison Mindfulness Institute and many of the organizations that worked with prisoners teaching them meditation and mindfulness techniques. At the end of three months, we were told that the Department of Homeland Security would not allow the live streaming element to happen.

3-D FILM IN INSTALLATION AND PERFORMANCE I have made many three-dimensional film projection pieces. I wanted to make physical installations of the stories. I started my work as a sculptor so I wanted to find a way to make things speak, putting voices in boxes and making violins that talked. And I made a miniature talking portrait of myself by projecting film onto clay.

The first was At the Shrink’s in 1977.

Dal Vivo, Projection and cast of Santino from Dal Vivo, Fondazione Prada, 1998

When I saw the living statue of Santino, I was shocked. He didn’t look like a prisoner. He looked like a judge. Distant. Remote. Regal. His girlfriend came to the gallery every day and stood near the statue.

He was unable to see her. The eeriness of real time.

I had always wanted to do this telepresence project in the United States, especially with the privatization of prisons and the rising numbers of prisoners, so when I was invited by the Park Avenue Armory a couple of years ago to do an installation, I proposed a version of Dal Vivo that would stream the images of 12 prisoners from upstate New York prisons who were serving life sentences, wrapping the projections onto three- dimensional double-sized casts of their bodies.

At the Shrink’s (1977, collection of the Guggenheim Museum)

Delusion Film Performance (2010)

HEART OF A DOG Anderson’s new feature film Heart of a Dog is a collection of stories, including From the Air, the 3-D film sculpture shown as part of HABEAS CORPUS. The film has been shown in Telluride, Venice, and Toronto, and will be shown in the New York Film Festival on October 8. It will be released nationwide later in the fall and broadcast on HBO in Spring 2016.

19

OUT OF THE BODY At night, the drill hall will be transformed into a dance party with Laurie Anderson and special guests

LAURIE ANDERSON

OMAR SOULEYMAN Omar Souleyman continues tirelessly to bring his wild dance party to all corners of the world, everywhere from SXSW to the Nobel Peace Prize Concert to rock clubs in cities around the world. From Syria in the Hasake region, Omar earned his reputation singing and leading weddings, birthdays, Christenings, corporate parties, and the like, answering to invites from all peoples living in the region – be they Muslims, Christians, Kurds, Iraqis, Syriacs, or Assyrians. His voice and style stood out as he adopted his songs and lyrics to make everyone equally happy. Those parties yielded hundreds of cassette tapes at first offered as gifts and later distributed throughout the region and other Arab countries.

20

SHAHZAD ISMAILY

MERRILL GARBUS

STEWART HURWOOD

Shahzad Ismaily (performer) was born to Pakistani immigrant parents and grew up in a wholly bicultural household. While he holds a masters degree in biochemistry from Arizona State University, he is a largely self-taught composer and musician, having mastered the electric and double bass, guitar, banjo, accordion, flute, drums, various percussion instruments, and various analog synthesizers and drum machines. Ismaily has recorded or performed with an incredibly diverse assemblage of musicians, including Laurie Anderson and Lou Reed, Tom Waits, Laura Veirs, John Zorn, Elysian Fields, and Burnt Sugar. He has also composed regularly for dance and theater, including for Min Tanaka, the Frankfurt Ballet, and the East River Commedia. Recently he composed the score for the critically acclaimed movie Frozen River, which won the Grand Jury Prize at the 2008 Sundance Film Festival.

Merrill Garbus (performer) has performed as tUnE-yArDs since 2009. First gaining notice with the debut BiRdBrAiNs, Garbus forged a reputation as a formidable live presence through relentless touring. In 2011, tUnE-yArDs released its second album, w h o k i l l, a startling and sonically adventurous statement that led to a whirlwind period where Garbus and bassist Nate Brenner accrued accolades from critics and performed in front of increasingly larger crowds around the world. Then, in 2014, tUnEyArDs released Nikki Nack, a testament to how current technologies can combine with themes from the past —Saturday mornings spent watching Pee-Wee’s Playhouse, puppet shows based on Jonathan Swift’s A Modest Proposal, hard days made less so by the refuge provided

by Top-40 radio—to create something utterly original.

Stewart Hurwood (performer) worked with Lou Reed for ten years until Reed’s death in October 2013. He carries the baton for Reed promoting “drone cognizance and harmonic possibilities.”

This was the backbone for Reed’s 1975 album Metal Machine Music. It further expanded by adding guitars and amplification for The Metal Machine Trio Live Tour. Hurwood participated in the Ornette Coleman Tribute at the Brooklyn Bandshell, collaborating with Laurie Anderson, John Zorn, and Bill Laswell.

Later he would drone more harmonic possibilities at New York Live Arts Festival.

21

SUPPORTERS OF MOHAMMED REPRIEVE Reprieve lawyers secured Mohammed el Gharani’s release from Guantanamo Bay and supported his resettlement and rehabilitation in West Africa.

Reprieve first met Mohammed in Guantanamo in 2005.

Shocked by his youth, they sent him books to read in lieu of school. Reprieve lawyers took his case to U.S. federal court, while investigators tracked down evidence related to Mohammed’s case all over the world. In January 2009, the legal team won a judgment ordering his immediate release. Reprieve’s resettlement specialists then helped Mohammed to recover and rebuild his life.

Founded by the transatlantic capital defense attorney Clive Stafford Smith in 1999, Reprieve’s vision is the worldwide abolition of the death penalty, and an end to extreme human rights abuses committed in the name of the war on terror. Reprieve has saved over 300 people from execution, and freed 70 wrongfully-held men from Guantanamo Bay. Among the first lawyers in Guantanamo, Reprieve attorneys helped bring the first case for detainees, Rasul v Bush, and are currently litigating the influential force-feeding case Dhiab v Obama. Reprieve also runs the only program dedicated to helping ex-Guantanamo prisoners to rehabilitate and rebuild their lives. Reprieve is headquartered in New York and London, with grass-roots partners in Yemen, Pakistan, and around the world.

You never really escape Guantanamo. Laurie invited Mohammed to be not just the subject of her artwork, but her partner in the project. His story has changed from being a story told by an artist to a story he tells himself through an artwork. Mohammed was 14 when he was seized by the U.S. military and stripped of his identity and his dignity. He came of age among hostile captors who didn’t believe a word he said, and who beat him for the truthful answers he repeatedly gave to their questions. And since his release Mohammed has had to hide his story from people he meets. Such is the stigma of Guantanamo. As witnesses to a grave injustice, we can either retrace the lines of Mohammed’s torture, or help them fade away. There are many more like Mohammed.

Over a hundred men are still being held without trial. — Kat Craig, Legal Director, Reprieve

CENTER FOR CONSTITUTIONAL RIGHTS Since 2002, the Center for Constitutional Rights (CCR) has been at the forefront of the legal battle against indef‑ inite detention and torture at Guantanamo, representing many current and former detainees.

CCR filed the first habeas corpus petition just one month after the first men were brought to Guantanamo, sent one of the first civilian lawyers to the base, recruited a network of 600 pro-bono lawyers (the “GITMO bar”) to represent the men detained there, and won landmark Supreme Court cases that established U.S. court juris‑ diction over the prison and affirmed detainees’ right to habeas corpus review.

22

Through a combination of strategic domestic and inter‑ national litigation and advocacy and creative public edu‑ cation efforts focused on highlighting the stories of their clients, CCR works tirelessly to secure their freedom and close Guantanamo. Their work also continues after their clients’ release, helping to rebuild their lives and demand accountability for what was done to them.

Vince Warren, a civil and human rights lawyer for the last two decades, and the Center for Constitutional Rights, the organization which he leads, are educational partners on HABEAS CORPUS. In conjunction with Laurie and Reprieve, Vince designed an education session with high school students and young adults to explain the byzantine legal landscape that both vindicated Mohammed and yet still surrounds the men still in Guantanamo. It also connected Guantanamo to other current issues that concern young people: stop and frisk, mass incarceration, and solitary confinement. Laurie spoke to the students about how she created this artwork and Vince talked about the social context in which this artwork lives. A group of students at the United Nations International School’s “Picture Justice” program, who are now about the age that Mohammed was when he was sent to Guantanamo, also had the opportunity to ask him questions to which he responded.

Student: How much leeway did the guards have to change their way of treating the prisoners?

Student: How do you deal with the world’s perception of Gitmo detainees?

Mohammed: Guantanamo is run by the military and the military controls how guards treat prisoners. So to answer your question: not much. There were some very kind guards who went out of their way to try and treat us kindly – but it was always clear that this was risky for them and they could get in trouble at any time for treating us like human beings.

Mohammed: It is really, really hard. I think it’ll be hard forever.

It will always be with me. Even though I was declared innocent and exonerated, there is such a stigma around Guantanamo that I have to be very careful who I share my story with. But I draw comfort from the fact that I know how wrong the negative per‑ ception of Gitmo detainees is – and when people like Laurie give me the opportunity to try and change that perception, I am very grateful. It provides a little relief.

Student: What are the conditions in Gitmo that you think should be addressed?

Mohammed: I don’t think this is the main issue! Guantanamo should be closed. There are so many men still detained there who are cleared for release – they should send them home or resettle them like me. No one should ever be indefinitely detained; it’s against everything the U.S. is supposed to stand for. But I guess that while the prison is still open, conditions should be improved – men should not be held in solitary confinement, and those on hunger strike in peacefully protesting their indefinite detention should not be force-fed.

Student: Were you always aware that there were people outside questioning Gitmo?

Mohammed: Only when my lawyer – the tall man! - Clive Staf‑ ford Smith arrived, and when I started getting regular visits from my lawyers at Reprieve, did I realise that people around the world were questioning what was being done to us. But it took three years for us to get lawyers in the first place. Even once that hap‑ pened, I think that Gitmo was kept in an information black-out – it was always so hard to know what was happening in the outside world. We would occasionally see some news or get told about people campaigning against Gitmo but not often.

Student: What helped you to survive your time in Gitmo?

How did you do that?

Mohammed: I couldn’t have survived in Guantanamo without the other men who looked after me like fathers and brothers.

I was just a child - they looked after me and showed me how to survive in that place, how to live. The lawyers at Reprieve, and the support from the outside world that I learned existed through them, also helped to keep me going. I always held onto the knowledge that I was innocent and thought about the life that I would make for myself when I got out. I used to read a lot and that helped. Reprieve organised for people to send me books when I got out and I still have them with the kind notes inside that people wrote to me.

Student: What is justice for you now?

Mohammed: It is hard to say that anything would be justice now; so much damage has been done. But I want Guantanamo to be closed and for my friends who are still inside there to be let out.

I want the place to be closed completely so that no one can ever be sent back there. I want the men who get released to be able to have a life in the outside world. Until that happens there won’t be anything like justice.

23

CREDITS AND BIOS CREDITS Laurie Anderson Mohammed el Gharani Brian H. Scott, Lighting Designer Brandon Wolcott, Sound Designer Amy Khoshbin, Video Consultant and Editor Jason Stern, Technical Director Priscilla Anany, Live Feed Producer Matt Mikas, Lead Sculptor Shaun MacDonald, Producer PRODUCTION STAFF Heather Hogan, Stage Manager Dan Bora, Sound Engineer Amy Khoshbin, Video Live Mixer Jason Stern, Live Feed Technician PRODUCTION ACKNOWLEDGEMENTS Akustiks, LLC – Paul Scarborough, Acoustical Consultant Production Resource Group Art Domantay Art Works

This production is supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Photo Credits: Inside Front Cover: Laurie Anderson; page 3: Kat Craig (top), Mohammed el Gharani (bottom); pages 6-7:Francis Djaba Adjingmetey (top); page 9: Cooper Holoweski; pages 10-11: Laurie Anderson, Cooper Holoweski, Jason Stern; pages 12-13: Francis Djaba Adjingmetey; page 14: Kat Craig (top), Francis Djaba Adjingmetey (bottom); page 15: Kat Craig; page 17: Laurie Anderson; page 18: Laurie Anderson; page 19: Laurie Anderson (top), Amy Koshbin (middle), Anzai (United States Part 1); page 20: Flavien Prioreau; page 21: Tatijana Shoan (Anderson), Scott Irvine and Kim Mesnelt (Ismaily), Holly Andres (Garbus); Back Cover: Francis Djaba Adjingmetey Drawing Credits: Centerfold: Looking for the Dream Submarine, Laurie Anderson (2015) Program Design: Victor-John Villanueva

24

Laurie Anderson is one of America’s most renowned and daring creative pioneers. She is best known for her multimedia presentations and innovative use of technology. As a writer, director, visual artist, and vocalist, she has created groundbreaking works that span the worlds of art, theater, and experimental music. Her recording career, launched by O Superman in 1981, includes the soundtrack to her feature film Home of the Brave and Life on a String (2001). Anderson’s live shows range from simple spoken word to elaborate multi-media stage performances such as Songs and Stories for Moby Dick (1999). She has published seven books and her visual work has been presented in major museums around the world. In 2002, Anderson was appointed the first artist-in-residence of NASA which culminated in her 2004 touring solo performance The End of the Moon. Recent projects include a series of audio-visual installations and a high definition film, Hidden Inside Mountains, created for World Expo 2005 in Aichi, Japan. In 2007, she received the prestigious Dorothy and Lillian Gish Prize for her outstanding contribu‑ tion to the arts. In 2008 she completed a two-year worldwide tour of her performance piece, Homeland, which was released as an album on Nonesuch Records in June 2010. Anderson’s solo performance Delusion debuted at the Vancouver Cultural Olym‑ piad in February 2010, and continued to tour inter‑ nationally. In 2010, a retrospective of her visual and installation work opened in Sao Paulo, Brazil, and later traveled to Rio de Janiero. In 2011, her exhibition of all new work titled Forty-Nine Days in he Bardo opened at the Fabric Workshop and Muse‑ um in Philadelphia. That same year she was award‑ ed the Pratt Institute’s Honorary Legends Award.

Her exhibition Boat curated by Vito Schnabel opened in May of 2012. She has recently finished residencies at both CAP in UCLA in Los Angeles and EMPAC in Troy, New York. Her film Heart of a Dog has been chosen as an official selection of the 2015 Venice, Toronto, and New York Film Festivals. Anderson lives in New York City.

“...the practice of arbitrary imprisonments have been, in all ages, the favorite and most formidable instruments of tyranny.”

— Alexander Hamilton, 1788

PRODUCTION As producer, engineer, and sound designer of albums, film scores, and live sound, Dan Bora has worked with Marina Abramović, Antony, Philip Glass, Howard Shore, Nico Muhly, Sufjan Stevens, and groups such as Alarm Will Sound, Kronos Quartet, The Magnetic Fields, and Matmos. His credits include Academy Award-winning Fog of War, the Academy Award-nominated The Illusionist, Notes on a Scandal, The Reader, Woody Allen’s Cassandra’s Dream, as well as the revival of Robert Wilson’s Einstein on the Beach and The Life and Death of Marina Abramović.

Jim Cass is an artist and musician based in New York City, working for Canal Street Communications/Laurie Anderson Studios. For this project, he worked on graphics and installation.

Bob Currie is an artist working in New York City and Ann Arbor, MI. He has had the pleasure of working with Laurie on a number of her varied endeavors.

Cooper Holoweski is the Studio Manager of Canal Street Communications/Laurie Anderson Studio.

He has an MFA from the Rhode Island School of Design and has attended the Skowhegan School of Painting and Sculpture. He maintains an active studio practice working in video, sound, and print media.

Ryan Jennings Clark was born in Des Moines, Iowa. He received his MFA from Cranbrook Academy of Art, where he received the Toby Devan Lewis Fellowship upon graduation. He currently lives and works in Brooklyn, where he works as a sculptor and fabricator and also pursues his own practice in video and photography. In the last year he has worked as a sculptor on many notable public works including Kara Walker’s A Subtlety at the Domino Sugar Factory, Teresita Fernandez’s Fata Morgana in Madison Square Park, and the Macy’s Christmas windows amongst others.

Amy Khoshbin is a Brooklyn-based artist working with video, performance, collage, costume, and sound. She has shown her work at River to River Festival, SXSW, Dixon Place, and The Invisible Dog, among many others, and has been awarded residencies at institutions such as The Watermill Center (upcoming 2015), Lower Manhattan Cultural Council, Banff Centre for the Arts, and New York University. She has collaborated with artists such as Laurie Anderson, Karen Finley, Tina Barney, and poets Anne Carson and Bob Currie, among others.

Shaun MacDonald is an artist manager and producer based in Brooklyn who founded CODEX MGMT in 2008. His clients include: Antony and the Johnsons, Laurie Anderson, and Glasser.

MacDonald has managed concert and art events at numerous venues throughout the world including the Teatro Real (Madrid), Sydney Opera House, The Royal Opera House: Covent Garden, Radio City Music Hall, and Primavera Sound.

Matt Mikas works as a specialty fabricator for commercial and fine art interests having provided sculptural work for such installations as the Natural History Museum’s 2007 Mythic Creatures exhibi‑ tion and Kara Walker’s A Subtlety at the Domino Sugar Factory in 2014. As a sound artist, his work was featured in Dave Hickey’s UltraLounge (2000), Michael Rush’s Brooklyn! (2001), and at the 2004 Gwang Ju Biennale in South Korea.

Lou Reed (March 2, 1942 - October 27, 2013) was an American rock artist originally from Brooklyn. Especially while a member of the

The Velvet Underground in the 1960s, Reed broke new ground for the rock genre in several important dimensions, introducing more mature and intellec‑ tual themes to what was then considered a largely simplistic genre of music.

Brian H. Scott has created lighting for projects at Park Avenue Armory that include Douglas Gordon’s tears become… streams become…, OKTOPHONIE with Rirkrit Tiravanija, and the event of a thread with Ann Hamilton. Recently, he designed lighting for Laurie Anderson and Kronos Quartet’s Landfall, Ann Hamilton and SITI Company’s theatre is a blank page, and Douglas Gordon’s Bound to Hurt and Neck of the Woods. He is lighting designer for New York-based SITI Company and Austin, Texas-based Rude Mechanicals, as well as San Francisco’s Kronos Quartet.

Jason Stern is the Technical Director of Canal Street Communications/Laurie Anderson Studio.

He has worked on a number of Laurie’s projects since 2013. Prior to that, he worked in a similar capacity with Lou Reed and continues to be involved with the Lou Reed Archive.

Brandon Wolcott is an New York City-based sound designer and composer. His recent and notable works include Good Person of Szechwan and Titus at The Public Theater, The Nether at MCC Theater, Kiss the Air at Park Avenue Armory, The Record at Center Pompidou, Kansas City Choir Boy at A.R.T., and Kill Floor at Lincoln Center Theater.

Collaborations include work with Marina Abramović, Faye Driscoll, Nicolas Jaar, Taylor Mac, Todd Almond, Elizabeth Streb, Woodshed Collective, 600 Highwaymen, and many more.

“… habeas corpus secures every man here, alien or citizen, against everything which is not law, whatever shape it may assume.”

— Thomas Jefferson, 1798

based radio and TV stations including Sunny FM and Metropolitan Television. Asamany has also worked with several production companies on various media projects including TV commercials, films, corporate videos, and other media forms. He is currently working on a government-sponsored documentary on educating local farmers on safe agricultural practices.

Yao Ladzekpo was born in West Africa and attended the National Film and Television Institute (NAFTI), where he obtained a Bachelor of Fine Arts Degree in Motion Picture Photography and won the best photography award in the student film festival. He went on to earn a MA in Museum and Heritage Studies. Ladzekpo continues to be a guest lecturer at NAFTI, New York University, and Central University College. He is a fellow at the Documentary Center of George Washington University. He has numerous credits in feature films, TV programs and commercials, documentaries, music videos, and corporate videos including the documentary film Witches of Gambaga directed by Yaba Badoe and the feature film No Time to Die. Anthony Prince Tomety studied at the National Film and Television Institute (NAFTI) and has since worked on major television and film projects, from Vodafone “Healthline” and “Icons” to “Bon Appetite” with Coke, Airtel’s “Touching Lives,” and Energy Hour. His film credits also include both local and international projects such as The Ties that Bind, Northern Affair, Beast of No Nation, Then There Was You, and Where Children Play, all of which were shot in Los Angeles. He has won multiple awards including Best Production Design at the Ghana Movie Awards and Best Production Design at the Africa Movie Academy Awards.

“One of the fundamental precepts of the U.S. Constitution is habeas corpus, the right of all citizens to trial and to protection against illegal imprisonment and punishment.”

— Laurie Anderson

WEST AFRICA TEAM Born in West Africa, Priscilla Anany grew up in a few African countries including Togo and Nigeria as her father taught sculpture-making at various universities on the West African coast. She moved to the United States in 2003 to continue her education. She graduated from the University of North Carolina School of Arts, School of Filmmaking in 2011, where she majored in film directing, and earned a Master’s Degree in Corporate Communications and Public Relations at New York University. Anany has made several films including the feature film Children of the Mountain.

Cephas Yaw Asamany was born in West Africa and studied Sound Engineering at the Ghana College of Multimedia. He has since been working in the field for the last five years, including several radio, film, and TV productions as well as several West African-

LEGAL Producer, engineer, musician, and attorney Roma Baran was born in Poland, grew up in Montreal, and lives in New York City. In her early years, she played with Kate and Anna McGarrigle. She plays guitar, dobro, lap steel, and Weissenborn, and has produced many albums in the U.S., Canada, and Europe, garnering several Grammy nominations, two Juno nominations, and a Canadian Folk Music Award for Best Contemporary Folk Album. Baran has worked with Laurie Anderson for many years, starting with O Superman. She was nominated for an Academy Award for Best Feature-Length Doc‑ umentary for producing Bernard Herrmann: Music for the Movies. As an attorney, she has done trial and impact litigation, and represents indigent clients in criminal and family court.

Kat Craig is Legal Director of Reprieve, which has represented Mohammed el Gharani since 2004.

Before joining Reprieve, Craig worked as a public interest lawyer in a London firm, representing margin‑ alized and vulnerable individuals and communities against big business and the state. She is passionate about holding the powerful to account for wrong‑ doing, and about soccer. Craig was liaison with Mohammed for HABEAS CORPUS, facilitating Laurie’s visits to West Africa and accompanying her throughout.

Katherine O’Shea runs Reprieve U.S., which opened in 2014 to expand Reprieve’s Guantanamo, drone killing, and U.S. death penalty work. She became frustrated by the emerging abuses of the “War on Terror” while working as a journalist for The Daily Telegraph in London, and joined Reprieve U.K. as Head of Communications in 2007.

Vincent Warren is the Executive Director of the Center for Constitutional Rights (CCR), overseeing CCR’s groundbreaking litigation and advocacy work. This includes using international and domestic law to hold corporations and govern‑ ment officials accountable for human rights abuses; challenging racial, gender, and LGBT injustice; and combating the illegal expansion of U.S. presidential power and policies such as illegal detention at Guantanamo, rendition, and torture. Prior to his tenure at CCR, Warren was a national senior staff attorney with the American Civil Liberties Union, where he litigated civil rights cases focusing on affirmative action, racial profiling, and criminal justice reform. He was also involved in monitoring South Africa’s historic Truth and Reconciliation Commission hearings, and worked as a criminal defense attorney for the Legal Aid Society in Brook‑ lyn. Warren is a graduate of Haverford College and Rutgers School of Law, and is a frequent guest on MSNBC’s Melissa Harris Perry Show, The Reid Report, and Up with Chris Hayes, and has appeared on Moyers & Company with Bill Moyers. His writing has been featured in The New York Times “Room for Debate” section, the Huffington Post, and on CNN.com, amongst other publications.

Mohammed el Gharani is a citizen of Chad and grew up in Saudi Arabia. He was a detainee at Guantanamo Bay from 2002 until his release in 2009. He now lives in West Africa with his wife and two children. He is currently awaiting change in his status to enable him to pursue an education and chosen profession.

25

SUPPORTERS Park Avenue Armory expresses its deep appreciation to the individuals and organizations listed here for their generous support for its annual and capital campaigns.

Part American palace, part industrial shed, Park Avenue Armory is dedicated to supporting unconventional works in the visual and performing arts that need non-traditional spaces for their full realization, enabling artists to create and audiences to consume epic and adventurous presentations that can not be mounted elsewhere in New York City. In its first eight years, the Armory opened its doors to visionary artists, directors, and impresarios who provided extraordinary experiences in a range of art forms. Such was its impact that in December 2011, The New York Times noted, “Park Avenue Armory … has arrived as the most important new cultural institution in New York City.”

Built between 1877 and 1881, Park Avenue Armory has been hailed as containing “the single most important collection of nineteenth century interiors to survive intact in one building” by the New York City Landmarks Preservation Commission. The 55,000-square-foot Wade Thompson Drill Hall, with an 80-foot-high barrel vaulted roof, is one of the largest unobstructed spaces in New York City. The Armory’s magnificent reception rooms were designed by leaders of the American Aesthetic Movement, among them Louis Comfort Tiffany, Stanford White, Candace Wheeler, and Herter Brothers. The building is currently undergoing a $210-million renovation designed by Herzog & de Meuron as assisted by Platt Byard Dovell White, as Architects of Record.

BOARD OF DIRECTORS Co-Chairman Elihu Rose, PhD. Co-Chairman Adam R. Flatto President and Executive Producer Rebecca Robertson

Marina Abramović Harrison M. Bains Kent L. Barwick Wendy Belzberg Emma Bloomberg Carolyn Brody Cora Cahan Peter Clive Charrington Hélène Comfort Paul Cronson Sanford B. Ehrenkranz

Michael Field David Fox Marjorie L. Hart Karl Katz Edward G. Klein, Major General NYNG (Ret.) Ken Kuchin Pablo Legorreta Ralph Lemon Heidi McWilliams David S. Moross

Gwendolyn Adams Norton Joel I. Picket Joel Press Genie H. Rice Amanda J. T. Riegel Janet C. Ross Jeffrey Silverman Joan Steinberg Emanuel Stern Angela E. Thompson Deborah C. van Eck Founding Chairman, 2000—2009 Wade F.B. Thompson

Rebecca Robertson, President & Executive Producer Alex Poots, Artistic Director

26

Charina Endowment Fund Empire State Local Development Corporation Richard and Ronay Menschel New York City Council and Council Member Daniel R. Garodnick New York City Department of Cultural Affairs The Pershing Square Foundation Susan and Elihu Rose The Arthur Ross Foundation and J & AR Foundation Joan and Joel Smilow The Thompson Family Foundation Wade F.B. Thompson* The Zelnick/Belzberg Charitable Trust Anonymous $500,000 — $999,999

PARK AVENUE ARMORY STAFF Katrina Berselius, Executive Assistant to the President Liz Bickley, Director of Special Events David Burnhauser, Collection Manager Courtney Caldwell, Venue Events Manager Olga Cruz, Porter Leandro Dasso, Porter Khemraj Dat, Accountant Mayra DeLeon, Porter Jay T. Dority, Director of Facilities Marcia Ebaugh-Pállan, Manager of Special Events Melanie Forman, Chief Development Officer Lissa Frenkel, Managing Director Peter Gee, Chief Financial and Administrative Officer Pip Gengenbach, Education Coordinator Antonella Inserra, Office Manager Cassidy Jones, Education Director Chelsea Emelie Kelly, Youth Corps Coordinator Nicole Kidston, Director of Individual Giving Benjamin Kimitch, Production Coordinator Nick Kleist, Production Assistant Allison Kline, Project Coordinator Michael Lonergan, Producing Director Wayne Lowery, Security Director

$1,000,000 +

Jason Lujan, Operations Manager Ryan Hugh McWilliams, Digital Marketing Manager Rebecca Mosena, Coordinator, Membership and Development Walter Nin, Security Manager Maxine Petry, Development Coordinator Charmaine Portis, Executive Assistant to Chief Development Officer Cristian Ramirez, Porter Kirsten Reoch, Director of Design and Construction Candice Rushin, Porter Matthew Rymkiewicz, Tessitura Database Manager Antonio Sanders, Porter William Say, Superintendent Jennifer Smith, Manager of Corporate Relations David Toledo, Technical Director Tom Trayer, Director of Marketing Ted Vasquez, Finance Director Jessica Wasilewski, Producer Monica Weigel, Education Manager Youth Corps Amadou Bah, Wilson Castro Jr., Joselin Flores, Isatu Jalloh, Sinaia Jones, Terrelle Jones, Destiny Lora, Shamor Mathis, Brianna Ortiz, Sebastian Ortiz, Angela Reynoso, Christian Rowe, Alestair Shu, Guycardine St. Victor, Lucille Vasquez

Citi Lisa and Sanford B. Ehrenkranz Almudena and Pablo Legorreta The Andrew W. Mellon Foundation Adam R. Rose and Peter R. McQuillan Donna and Marvin Schwartz Liz and Emanuel Stern $250,000 — $499,999 American Express Michael Field and Jeff Arnstein Olivia and Adam Flatto Ken Kuchin and Tyler Morgan The Rockefeller Foundation Marshall Rose Family Foundation $100,000 — $249,999 The Achelis and Bodman Foundations Wendy and Mark Adams Linda and Earle S. Altman Bloomberg Philanthropies Booth Ferris Foundation Marjorie and Gurnee Hart Kirkland & Ellis LLP Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. David Monn Mr. and Mrs. Lester S. Morse, Jr. National Endowment for the Arts New York State Assembly New York State Council on the Arts Gwen and Peter Norton The Reed Foundation Daniel and Joanna S. Rose Caryn Schacht and David Fox Amy and Jeffrey Silverman Stavros Niarchos Foundation Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg Mr. and Mrs. William C. Tomson Deborah van Eck Anonymous $25,000 — $99,999 The Avenue Association Harrison and Leslie Bains Emily and Len Blavatnik Emma Bloomberg and Chris Frissora BMW of Manhattan Jill Bokor and Sanford Smith Carolyn S. Brody Eileen Campbell and Struan Robertson

Hélène and Stuyvesant Comfort The Cowles Charitable Trust Paul and Caroline Cronson Emme and Jonathan Deland Sandi and Andrew Farkas, Island Capital Group & C III Capital Partners Elizabeth Morse Genius Foundation The Grand Marnier Foundation Mr. and Mrs. Andrew Gundlach Roger and Susan Hertog Josefin and Paul Hilal Max MF Power Jacobellis Anna Maria & Stephen Kellen Foundation, Inc. and Marina Kellen French Mary Kush Aaron Lieber and Bruce Horten Kamie and Richard Lightburn Marc Haas Foundation Cindy and David Moross Liz and Frank Newman Joan and Joel I. Picket The Pinkerton Foundation Slobodan Randjelovic and Jon Stryker Katharine and William Rayner Rhodebeck Charitable Trust Genie and Donald Rice Rebecca Robertson and Byron Knief Janet C. Ross Deborah and Chuck Royce May and Samuel Rudin Family Foundation, Inc. Fiona and Eric Rudin The Fan Fox & Leslie R. Samuels Foundation Stacy Schiff and Marc de la Bruyere The Shubert Foundation Sydney and Stanley S. Shuman Skadden, Arps, Slate, Meagher & Flom LLP Peter and Jaar-mel Sloane / Heckscher Foundation Sarah Billinghurst Solomon and Howard Solomon Mr. and Mrs. Eugene E. Stark, Jr. Nanna and Daniel Stern Tishman Construction, an AECOM Company David Wassong and Cynthia Clift Michael Weil Anonymous $10,000 — $24,999 Adrienne Arsht Arup Mr. and Mrs. Victor Barnett Candace and Rick Beinecke Nicholas Brawer Catherine and Robert Brawer British Council Mr. and Mrs. Kenneth Buckfire Janna Bullock Elizabeth Coleman Mrs. Daniel Cowin Crum & Forster The Cultivist Dom Pérignon William F. Draper Andra and John Ehrenkranz Amandine and Stephen Freidheim Barbara and Peter Georgescu Kiendl and John Gordon Jeff and Kim Greenberg Mr. and Mrs. Martin Gruss Molly Butler Hart

and Michael D. Griffin Elizabeth and Dale Hemmerdinger Herzog & de Meuron Daniel Clay Houghton Elizabeth and William Kahane Erin and Alex Klatskin Suzie and Bruce Kovner Thomas H. Lee and Ann Tenenbaum Leon Levy Foundation Richard H. Levy & Lorraine Gallard Lili Lynton and Michael Ryan Christina and Alan MacDonald Sylvia and Leonard Marx, Jr. Diane and Adam E. Max Larry and Mary McCaffrey Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Adriana and Robert Mnuchin David P. Nolan Foundation Northern Bay Contractors, Inc. Susan Patterson and Leigh Seippel Betsy and Rob Pitts PBDW Architects Andrea Markezin and Joel Press The Prospect Hill Foundation Diana and Charles Revson Mary Jane Robertson and James A. Clark Ida And William Rosenthal Foundation Lady Susie Sainsbury Mr. and Mrs. William Sandholm Oscar S. Schafer Dr. and Mrs. Thomas P. Sculco Juliet Lea Hillman Simonds Foundation JLH Simonds Mr. and Mrs. Barry Sternlicht Josh Struzziery and Beth Carney Claudia and Geoffrey Thompson Laurie M. Tisch Illumination Fund Barbara and Donald Tober William Morris Endeavor Entertainment Foundation Anonymous (2) $5,000 — $9,999 Noreen K. Ahmad and Ahmar Ahmad Jody and John Arnhold Mr. and Mrs. Jonathan Auerbach Milton and Sally Avery Arts Foundation Hilary Ballon Abigail Baratta Ginette and Joshua A. Becker Sara and David Berman Daniel and Estrellita Brodsky Veronica Bulgari and Stephan Haimo Amanda M. Burden Marian and Russell Burke Mr. and Mrs. Chase Coleman Mr. and Mrs. Carl A. Contiguglia Mary Cronson / Evelyn Sharp Foundation Margaret Crotty and Rory Riggs Diana Davenport and John Bernstein Luis y Cora Delgado Jennie L. and Richard K. DeScherer Peggy and Millard Drexler The Max and Victoria Dreyfus Foundation Mary Ellen Dundon East Side House Settlement David and Frances Eberhart Foundation Inger McCabe Elliott

The Felicia Fund Ella M. Foshay and Michael B. Rothfeld Debbi Gibbs Gail Golden and Carl Icahn Susan and Peter Gottsegen Great Performances Anne Grissinger Agnes Gund Anita K. Hersh Jennie Kassanoff and Dan Schulman The Rachel and Drew Katz Foundation Mr. and Mrs. Fernand Lamesch The Lauder Foundation / Leonard and Evelyn Lauder Fund Robert Lehman Foundation Gail and Alan Levenstein Foreground Conservation & Decorative Arts Mr. and Mrs. Francois Maisonrouge Mr. and Mrs. Richard E. Mayberry, Jr. Alexandra and Les Meyers Claire Milonas Whitney and Andrew Mogavero Barbara and Howard Morse Saleem Muqaddam National Philanthropic Trust Mary Kathryn Navab James C. Marlas and Marie Nugent-Head Marlas Nancy and Morris W. Offit Peter and Beverly Orthwein Susan Porter Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York Mr. and Mrs. Robert Quinlan David J. Remnick and Esther B. Fein Jonathan F.P. and Diana Rose Stephanie and Fred Shuman Margaret Smith Daisy M. Soros Sotheby’s Patricia Brown Specter Mr. and Mrs. Michael Steinhardt Elizabeth F. Stribling and Guy Robinson Michael and Veronica Stubbs The Jay and Kelly Sugarman Foundation Bill and Ellen Taubman Paul Travis and Mark Fichandler Isak and Rose Weinman Foundation, Inc. Myra and Frank Weiser, M.D. Valda Witt and Jay Hatfield Cynthia Young and George Eberstadt Richard and Franny Heller Zorn Anonymous $2,500 — $4,999 Roswitha and A.J. Agarwal Ghiora Aharoni and Christopher Noey Ark Restaurants Corp.

Norma Ketay Asnes Mr. and Mrs. Timothy Barefield Allison M. Blinken Cynthia and Steven Brill Amy Brown Fay Chang Neil and Kathleen Chrisman Christian Dior Shirin and Kasper Christoffersen Mr. and Mrs. David Cohen Betsy Cohn

27

Stewart F. Lane and Bonnie Comley Marina Couloucoundis Ellie and Edgar Cullman Sasha Cutter and Aaron Hsu Joshua Dachs / Fisher Dachs Associates Theatre Planning and Design Joan K. Davidson (The J.M. Kaplan Fund) Mary and Maxwell Davidson III Elizabeth de Cuevas Gina and James de Givenchy Hester Diamond Krystyna Doerfler Anne and Joel Ehrenkranz Dr. Nancy Eppler-Wolff and Mr. John Wolff EverGreene Victoria Ferenbach Susan Ferris Edmée and Nicholas Firth Mr. and Mrs. Brian Fisher Fisher Marantz Stone, Inc. Megan Flanigan Bart Friedman and Wendy A. Stein Teri Friedman and Babak Yaghmaie Samantha and John Gellert Mr. and Mrs. Trevor Gibbons Kathleen and David Glaymon Gary & Beth Glynn Marjorie and Ellery Gordon Mindy and Jon Gray Jeff Greene The William and Mary Greve Foundation Sarah and Geoffrey Gund Mike & Janet Halvorson John Hargraves Jay Herman Barbara Hoffman Margaret Hunt Frederick Iseman istar Financial Inc. Mr. and Mrs. Robert Jeffe Caron and Geoffrey Johnson Barbara and Donald Jonas Floy and Amos Kaminski Meredith J. Kane Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Karl and Elizabeth Katz Nancy Kestenbaum and David Klafter Wendy Keys and Donald Pels Knickerbocker Greys Phyllis L. Kossoff Chad A. Leat Levien & Company, Inc. Mr. and Mrs. Marcel Lindenbaum Shirley Lord Rosenthal Heather Lubov The Ludwig Family Foundation / The Honorable Eugene A. Ludwig and Dr. Carol Ludwig Shelly and Tony Malkin Sherry Mandell Judith and Michael Margulies Juliana and Jon May Melissa Meeschaert Joyce F. Menschel Karon and Rick Meyer Malu and Sergio Millerman Marcia and Richard Mishaan Achim and Colette Moeller Mr. and Mrs. Robert Morse Mr. and Mrs. James Murdoch Patty Newburger and Bradley Wechsler Mr. and Mrs. Michael Newhouse Anne Niemeth and Chuck Niemeth Peter and Susan Nitze Francesca and Dick Nye MC & Eric Roberts Ellen Oelsner Kathleen O’Grady Susan Ollila

28

David Orentreich, MD / Orentreich Family Foundation Will Palley Mr. and Mrs. Brian Pfeifler Marnie Pillsbury Anne Prentice Eileen and Tom Pulling Elissa Querzé Heidi Rieger Isabel Rose and Jeffrey Fagen Liz Rosen Chuck and Stacy Rosenzweig Susan and Jon Rotenstreich Merle Rubine and Elliot M. Glass Valerie Rubsamen and Cedomir Crnkovic Bonnie J. Sacerdote Jane Fearer Safer Nathan E. Saint-Amand Mr. and Mrs. Andrew Saul Caroline Schmidt-Barnett Mr. and Mrs. Nicholas Schorsch Sara Lee and Axel Schupf Mr. Barry Schwartz / M&F Worldwide Corp.

Lise Scott and D. Ronald Daniel Alan and Sandy Siegel Donna Kohn Snow and Michael Rubinoff Sara Solomon Donna Soloway Mrs. and Mr. Deda Steinberg Gayfryd Steinberg Jeremy E. Steinke Diane and Sam Stewart Angeline Straka Rob Teeters and Bruce Sherman Ambassador and Mrs. William J. vanden Heuvel Anastasia Vournas and J. William Uhrig Susan and Kevin Walsh David Reed Weinreb Katherine Wenning and Michael Dennis Karla Wheeler Kate R. Whitney and Franklin A. Thomas Mr. and Mrs. Malcolm H. Wiener Amy Yenkin and Robert Usdan Judy Francis Zankel Zubatkin Owner Representation, LLC $1,000 — $2,499 Lindsey Adelman Frank Ahimaz and Steven Barr Mr. and Mrs. Herbert Allen Amira Salaam Amro Patrick Baldoni, Femenella & Associates, Inc. Tina and Peter Barnet June and Kent Barwick Norton Belknap Mr. and Mrs. Joel Benenson Dale and Max Berger Deborah Berke and Peter McCann Tama and Brad Bernstein Nymrata Advani Bickici Cathleen P. Black and Thomas E. Harvey Bluestem Prairie Foundation Boehm Family Foundation Marianne Boesky Gallery Mr. and Mrs. Sheldon Bonovitz Mr. and Mrs. Alvin Brown Mr. and Mrs. Gilbert Butler Butterfield Market & Catering Judith Byrd Sommer Chatwin Jim Chervenak Pamela and J. Michael Cline Ranika Cohen

Mr. and Mrs. Yoron Cohen Emy Cohenca Courtney Corleto Jessica and David Cosloy Jennifer Coyne Mr. and Mrs. Andrew Crisses Boykin Curry and Celerie Kemble Carol Lynne Cushman Virginia L Davies and Willard B Taylor Suzanne Dawson Elisabeth de Kergorlay Marguerite De La Poer Sebastien de la Selle Maria Teresa De Mata Richard and Barbara Debs Jane and Michael DeFlorio Anne Bevis Detwiler Diana Diamond and John Alschuler Jacqueline Didier and Noah Schienfeld Mr. and Mrs. Michael Donner Jane Draizen Nancy J. Drosd and Charles Schwartz Gertrude and Philip Dub Lonti Ebers Karen Eckhoff Jacqueline Elias Mr. and Mrs. Chris Errico Mr. and Mrs. Marc Feigen Richard L. Feigen and Isabelle Harnoncourt-Feigen Fig & Olive Restaurant Laura Jane Finn Heather Fullerton Mr. and Mrs. Scott Gerber Margery Gottesman Mr. and Ms. David Granville-Smith Francine P. Gray Jenny Slayton Green Jamee and Peter Gregory Marie-Line Grinda and Ahmed Deek Barbara Grodd and The Ostgrodd Foundation Leonard Groopman Claire and Christian Gudefin Jan M. Guifarro Addie J. Guttag Jennifer Hand and Thomas Tierney Elizabeth Harned Steven Harris and Lucien Rees Robertson Stan Harrison Kitty Hawks and Larry Lederman Rolf Heitmeyer Stephanie Hessler Mr. and Mrs. Brian Higgins William T. Hillman Susan Hirschhorn and Arthur Klebanoff Mary Anne Hunting and Thomas H Remien Invisible North Beth Jacobs Mr. and Mrs. David Johnson The Kandell Fund / Donald J. Gordon Jeanne Kanders Daniel and Renee Kaplan Drs. Sylvia and Byram Karasu Frances Kazan Margot Kenly and Bill Cumming Hadley C. King Jana and Gerold Klauer Kathleen and Reha Kocatas Kate Krauss Kimberly Kravis Schulhof Leah Kremer Mr. and Mrs. Ron Krolick Geraldine Kunstadter Nanette L. Laitman Barbara Landau Judith Langer and Arthur Applebee Mr. and Mrs. John Lauto Mark and Taryn Leavitt H. Kate Lee

Ann Leibowitz Sahra T. Lese Brenda Levin Phyllis Levin Ambassador and Mrs. John L. Loeb Jr. Lisa Ann Lori The Honorable and Mrs. Earle Mack Elizabeth MacNeill Arielle & Ian Madover Pat and Michael Magdol Mr. and Mrs. Chris Mailman Match 65 Brasserie Polly McCaffrey Dede McMahon Constance and H. Roemer McPhee Beatrix and Gregor Medinger Sibel Mesta Mr. and Mrs. Sylvester Miniter Allen Model and Dr. Roberta Gausas Mr. and Mrs. Oliver Moses Mr. and Mrs. Stuart Nelson Mr. and Mrs. Marvin Numeroff Addison O’Dea Victoria Orlin Robert Ouimette Mindy Papp Madison J Papp Lynn Passy and Lewis Friedman Jordan Phillips Christopher J. Piccinich Mr. and Mrs. Douglas Present Prime Parking Systems Inc. Jonelle Procope and Fred Terrell Timothy and Coco Quinlan Mr. and Mrs. Jeffry Quinn Anna Rabinowitz Alan Ravandi and Avisheh Avini Rodgers & Hammerstein Foundation Mr. and Mrs. David Rogath Mark Roppel and Nurelene Sahadat Jim Rosenfield and Charlotte Rosenblatt Marjorie P. Rosenthal Jane Royal Rudin Management Co., Inc. Elizabeth Sarnoff and Andrew S. Cohen Sabina and Wilfred Schlumberger Joyce Pomeroy Schwartz Tatiana Serafin Gil Shiva Mr. and Mrs. Arthur Shorin Mr. and Mrs. Michael Shuman Lindy Shuttleworth Laine Siklos Denise Simon and Paulo Vieiradacunha Mr. and Mrs. Vinayak Singh Vinayak Singh Barbara Slifka Mr. and Mrs. Howard Sloan Salwa Smith Denise Littlefield Sobel Squadron A Foundation Lili L. Stawski Mr. and Mrs. Alan Stillman John Strasswimmer Mr. and Mrs. Tom Strauss Bonnie and Tom Strauss Dorothy Strelsin Foundation / Enid Nemy Allison & Stephen Sullens Summit Security Services, Inc. Rabbi Malcolm Thomson Suzanne Tick Jane Toll Mr. and Mrs. Remy Trafelet Mr. and Mrs. John Troiano R.T. Vanderbilt Trust / Mr. and Mrs. Hugh B. Vanderbilt, Jr. Mr. and Mrs. John Vogelstein Clémence and William Von Mueffling Monina von Opel

Mr. and Mrs. Richard Wagman Amanda and John Waldron Mr. and Mrs. Stanford Warshawsky Michaela Williams Mr. and Mrs. David Wolf Jody Wolfe Reva Wurtzburger Eleanor Ylvisaker Jason Zubatkin Anonymous (4) $500 — $999 Marina Abramović Mr. and Mrs. William Abrams Olga Aidinian Mr. and Mrs. Charles Anderson Mr. and Mrs. Chris Apgar Natalie N. Appel Jennifer Argenti Louise L. Arias Deborah Aruta Michael Ashby Page Ashley Mary Eliza Aston Mr. and Mrs. Steven Atkins Josephine A Auerback James F. Baer Diana Balmori Mitchell Banchik Raymond Baron Mr. and Mrs. Shayne Barr Julia Bator and Charles Duggan Susan Wise Bauer & Peace Hill Press Frances Beatty Mr. and Mrs. Guillaume Bebear Molly Bell Lorraine Bell and M. Weisdorf Kristine Bell Dr. and Mrs. and Mrs. Ralph Bennett Liddy Berman Elaine S. Bernstein Isabella Bertoletti and Brett Phares Sue Birnbaum Hana Bitton Franklin Leslie Bocian Paige Boller Malik Deborah Harper Bono Paul Boschi and Michael Kronberg Michele R. Bourgerie Arabella Bowen and Tyler Cole David P. Boynton Dr. and Mrs. Richard Brockman Mr. and Mrs. Alexander Brodsky Kimberly Brown George and Jane Bunn Mr. and Mrs. Martin Buss Janet L Bustrin and Stephen Stubelt Cora Cahan and Bernard Gersten Ellen Sue Cantrowitz Capital Strategies Investment Group LLC Lea Carpenter Thomas Carrier Pilar Castro Kiltz Ronni and Ronald Casty Mr. and Mrs. Bruce Chelberg Meryl and Mel Cherney Daniel S Chess and Richard W. Lilly Ashley Christopher Oya Christopher CleanTech Michael Clinton and Tom Devincentis Donald G. Clinton Jerome & Carole Cloud Mr. and Mrs. Robert Cochran Orla Coleman and Rikki Tahta Mrs. George Colettis Janis Conner Jack Cooney Alexander Cooper Jon and Jenny Crumiller Bernadette Cruz

James Danner Christina R. Davis Kathy Deane Mr. and Mrs. Maurice Deane Mr. and Mrs. Stephen Dellosso Michele Denby and Joseph Nazitto Susan Dryfoos Mr. and Mrs. Daniel Dubin Gwen Edelman Amy Grovas Elliott Michael Ellis Heidrun Engler Mr. and Mrs. Alexander Ercklentz Mrs. John W. Espy Anna May Feige Joan and William Felder George Fellows Laurel Fine Jodie and Andrew Fink Michael First Mr. and Mrs. Peter Flaherty Dr. and Mrs. Walter Flamenbaum Mr. and Mrs. Sander A. Flaum Susan and Arthur Fleischer Martha J. Fleischman Mr. and Mrs. Marc Fox Margherita S Frankel Clare and John Fraser Stephanie French Mr. and Mrs. Lawrence Friedland Dr. and Mrs. Alan Friedman P. Gayle Fuguitt and Thomas Veitch Agata and Sumeer Sath Gisela Gamper Mr. and Mrs. Thomas Garbutt Peter P. Gates James W. Gerard Nelsa L. Gidney and Jordan Ringel Peter Ginn Mr. and Mrs. Gary Gmoser Lynn Goldberg and J Robert Moskin Rosalie Y Goldberg Alexander Goldberg Mr. and Mrs. Harrison Jay Goldin Mr. and Mrs. Stuart Goldman Barbara Goldsmith Parisa Golestaneh Laurel Gonsalves Pedro Gonzalez de Cosio Susan Grant and Lawrence C Maisel Norma R. Green Mr. and Ms. Stephen Greene Paula S. Greenman Amy Greer & Mark Murphy Gail Gregg Maggie Gresio Susan Griffith and David Neill Dr. and Mrs. Jeffrey Groeger Giovanna Gromo and Ian Cavit Allen and Deborah Grubman Harvey and Kathleen Guion Taanta Gupta Yen Ha and Richard Tesler Linda L Hackett and Russell W. Munson Jr. Robert H. Haines Lynn and Martin Halbfinger Mrs. and Mrs. Peter Halstead Karee Hanifan Donna Harkavy and Jonathan Price Cassandra Harris Mr. and Mrs. Isaac Heimbinder Marian Heiskell Mr. and Mrs. Horacio Herzberg Mr. and Mrs. Michael Ho Augusta Hoffman Mr. Joseph C. Hoopes, Jr. (B.E.L.T. Trust) Pamela Howard Nancy Hutson and Ian Williams Mr. and Mrs. Alan Ilberman Heatherlyn Ingenito James Iorio and Audrey Chen Elise Jaffe + Jeffrey Brown

Hilda Jones Patricia S. Joseph Adrienne Katz Rick D. Kaye Mr. and Mrs. Brian Kelly Evelyn Kenvin Dr. Hootan Khatami & Mr. Daryl Fox Jennifer Kinderman Dr. Robert and Sylvia Kirschner Major General Edward G. Klein, NYNG (Ret.) Gary Knisely Gloria and Richard Kobrin Lisa and Philippe Krakowsky Kathryn Kremnitzer Mr. and Mrs. Sascha Lainovic Carole Lalli Mr. and Mrs. James Lally Andrew Landesman Mr. and Mrs. Robert Lang Alexandra Langner Steven and Arlene Lazarus Ralph Lemon Bonnie Levinson and Donald Kay Mr. and Mrs. H. McIlvaine Lewis Jeff Lin Ken Lindley and Clay Schudel Catherine Lipkin and Danae Oratowski Jane K. Lombard Donna and Wayne Lowery Joyce Lowinson Monique Lowitt Margaret C. Lu Mr. and Dr. Robert Lupi Joan L. Lynton Susanne Mackiw Susan Madden Mr. and Mrs. Ezra Mager Meylin Maldonado Mr. and Mrs. Anthony Mansour Lara Marcon Ms. and Ms. Theresa Martinez Rebekah McCabe Scott McDonald Erin Harkness McKinnon Martha B. McLanahan Shawn McLaughlin and Kieran McMahon Frances Milberg and Dylan Mills Diane Compagno Miller Mr. and Mrs. T. Kelley Millet Sally Minard and Norton Garfinkle Claudia and Douglas Morse Mr. and Mrs. David Namerow Mr. and Mrs. Joseph Naporano Mr. and Mrs. William Nareski Ilona Nemeth and Alan Quasha Nicholson & Galloway, Inc. Sophie Nitkin Barbara A. O’Connell Robert S. O’Hara, Jr. John Orberg Donna E. Ostroff and Carl J. Capista Alex Papachristidis and Scott Nelson Mr. and Mrs. Ciro Pellicano Mr. and Mrs. Richard Petrocelli Elizabeth Peyton Stefani Phipps Max Pine Mrs. Nancy Piraquive Mr. and Mrs. William Platt Sheila M. and Nicholas Platt Gary Portadin Kathryn Pruess Samuel F. Pryor, IV Mr. and Mrs. Bruno Quinson Eden W Rafshoon Charles Read Tara K Reddi Victoria Reese and Greg Kennedy Milbrey Rennie Sheila Johnson Robbins Mr. and Mrs. Tony Roberts

Joel Rosenkranz Mr. and Mrs. Charles Rousell Elizabeth Roxas-Dobrish Ety Rybak Marie Salerno and Sam Roberts Wendy B. Samuel Manuel de Santaren Claire-Marine Sarner Mr. and Mrs. Bruce Schlechter Morwin Schmookler Pat Schoenfeld Barbara A. Schwartz Nancy Schwartz Sternoff Kimia Setoodeh Nadine Shaoul and Mark Schonberger Kimberly Ayers Shariff Georgia Shreve Angelo and Constance Silveri Albert Simons III Andrew Clifford Skewes Mr. and Mrs. Arnold Smoller Stephanie and Dick Solar Eileen Solomon Lynn Somers and John H. Davis Martha S. Sproule Barbara H. Stanton Kathryn Steinberg Mr. and Mrs. Benjamin Steiner Mr. and Mrs. Jerome Stern Stephanie Stokes Bonnie Strauss and Roger Gould Frank Sullivan Cedric Suming and Derek Calibre Shining Sung Barbara Taff and Allan Sacks Robert Taff and J. Philip Moloney Judith Taubman Carolee Thea Heather Thompson and Ryan Wangner Dr. and Mrs. William Thornton Mr. and Mrs. James Thornton Laurie M. Tisch Luigi Filippo Toninelli Whitney Topping John R Torell IV Lee Traub Ms. Patricia L. Truscelli and Mr. E.N. Ellis Adrian Ulrich Bill Updegraff and Aliza Bartfield Mr. and Mrs. Tony Ursano Amelia & Steven Usdan Maria Vasconcelos and Julio Pekarovic Robert Vila and Diana Barrett Mr. and Mrs. Alexander von Perfall Ashley Waghorne and Geoff Collette Karen E. Wagner and David Caplan Mr. and Mrs. Saul Waring Mr. and Mrs. William Warren Evelene Wechsler Larry Wehr Mr. and Mrs. Yakov Weinstein Paula Weinstein Mr. and Ms. Anthony Weldon Gabriella Wiener Kenneth J. Witty Susan Yarnell Mr. and Mrs. Michael Young Michael Young and Debra Raskin Dawn Zappetti and Patrick Sullivan Tim Zietara Nina Zolt and Miles Gilburne Anonymous (8) List as of September 9, 2015 * Deceased

Season Sponsors

dedicated to the freedom and basic goodness of all humans