On two nights – one in December 1972, the other April 1973–the multiracial, multimedia feminist art collective Red, White, Yellow, and Black put on what they called a “multimedia concert” at The Kitchen in New York City.1 The collective was made up of four members who each represented a skin colour.
The order of the colours was not consistently listed, though Red, White, Yellow, and Black is the most common configuration, meant to evoke the ‘red, white, and blue’ of the American flag. All of the seven works they made have since dematerialised. This essay recreates them in textual form, drawing on archival research, conversation, and cinema scholar Melinda Barlow’s account of the works. I have not seen and cannot see the works themselves. I describe them both in order to preserve them, and to give a platform to an early example of multiracial feminist video art, pushing against the ephemeral nature of their chosen media, but also the frequency with which work by marginalised artists is passively erased when it is not actively preserved.
