John Ahearn was an active part of the community. "South Bronx is known as a place of suffering, poverty, crime, drugs, unemployment, and Aids" (Stimpson 18), but this did not stop Ahearn for making his artworks. His earlier works were plaster portraits of the people that lived there. Some even displayed them in their homes. So he gained acceptance in South Bronx, nobody really minded he was white. The place became home to him.

"On April 1, 1986, the New York City Department of Cultural Affairs began to choose... an artist to create a piece in front of a new police station in the 44th Precinct" (Stimpson 19). With his gained popularity in the town, Ahearn was commissioned to make the sculpture. He believed that his sculptures should be looked upon as guardian angels or saints.

Stimpson, Catherine R.. 1994. Introduction of Whose Art Is

While living in the South Bronx, Ahearn learned to be like everybody else, from the people's values, cultures, and traditions, and in return his neighbors learned his. He looked beyond racial boundaries. He accepted the challenge of being different and the town welcomed him. He believed that he spoke his mind through his artworks. Kramer argued that the public was complaining so much that they oversaw the true meaning of the three sculptures.

Kramer, Jane. 1994. Whose Art Is It?. Public Planet Books.

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Approximate Pages = 3 (250 words per page double spaced)