Available on JSTOR at: doi.org/10.2307/3337689 Abstract “Hair in African Art and Culture” is a traveling exhibition organized by the Museum for African Art, New York, with support from the National Endowment for the Arts and the Rockefeller Foundation. Guest curator Roy Sieber and the museum's Director of Exhibitions, Frank Herreman, have brought together more than 170 objects from collections around the world to illustrate the significance of hair in African society. After its initial presentation in New York (February 9-May 28, 2000), the exhibition began a national tour, whose venues include the Apex Museum, Atlanta (June 25-August 20, 2000); the Iris and B. Gerald Cantor Center for Visual Arts, Stanford University (October 4-December 31, 2000); the Charles H. Wright Museum of African American History, Detroit (February 8-April 15, 2001); and the California African-American Museum, Los Angeles (May 26-August 15, 2001). The tour is sponsored by the Colgate-Palmolive Company. The exhibition catalogue, edited by Sieber and Herreman, includes essays by eleven additional contributors (192 pp., 129 b/w & 164 color illustrations, notes, bibliography). It is available for $38 softcover and $68 hardcover from the Museum for African Art and (hardcover only) from Prestel Verlag (New York, London, Munich). The text in this article is drawn from the publication.

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Available on JSTOR at: doi.org/10.2307/3336851 Abstract This issue of “African Arts”, together with the next, to be published in July, is a tribute to Arnold Rubin. All of us who have contributed to these two volumes recall the various kinds of relationships we shared with Arnold--as his students, cohorts, teachers, colleagues, and friends--relationships that shifted and converged at different stages of our lives and careers. So, too, can many other readers of this journal remember their own interactions and associations with him. These articles are a collective gesture of thanks and appreciation to a man who significantly affected the course and history of African art scholarship. Those individuals whose words and ideas fill these pages either were students with Arnold at Indiana University or were his students and close colleagues at UCLA. We, the editors of these memorial issues, were a part of those two seminal stages of Arnold's career, and with him constitute a special intergenerational continuum based on our shared interests in the arts and peoples of northern Nigeria. Arnold followed Roy's footsteps to the Middle Benue, just as Marla followed Arnold's to the Upper Benue. Each of us learned from Arnold, and he from us, so that our respective relationships with him, both professional and personal, were given a particular depth and resonance. These mentoring ties have become all the more poignant as we bring to fruition Arnold's final research and writing on the arts of the Benue Valley.

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