Meet PESTS

Look Closely at an Announcement Written by PESTS

Zoom in on the announcement above written by PESTS, dated December 6, 1986. Read the text and look at the images and graphics. Read the full text transcription. See the glossary below for definitions of some of the words and terms in the letter. As you look, write or discuss your responses to the following questions:

• What visual details do you notice? Why do they stand out to you?
• This letter doesn’t name a specific artist or gallery. Why might PESTS have chosen to speak in general terms here, rather than pointing to one example?
• What is the purpose of this letter? Use evidence from the text in the letter to support your response.
• How would you describe the mission of PESTS? Use evidence from the letter to support your response.
• PESTS writes that it “aims to publicize the myopia of the art establishment.” What do you think they mean by this?
• Why might a group fighting for visibility choose to remain invisible themselves? What does that tell you about the risks of speaking out? Do you think not knowing who created the letter changes the experience for those reading it? Why or why not?

Read About PESTS

PESTS was a group of activist artists in the 1980s who exposed and resisted racism, exclusion, and tokenism in New York City museums and commercial art galleries. They called themselves “PESTS” and used a symbol of a wasp on their publications in order to “bug” the art world. The anonymous members of PESTS came together to design bold announcements and newsletters that combined humor, bold lettering, and statistics to show who was being excluded from the art world. Their work made the case that when museums and galleries leave out the perspectives of artists of color, they fail to tell the full story of human culture.

In 1984, the Museum of Modern Art (MoMA) in New York had a show called “An International Survey of Recent Painting and Sculpture.” This exhibition was meant to represent the most significant artists working around the world at the time, but out of the approximately 165 artists included, only 13 were women, only about eight were artists of color, and all of the artists of color were men. These kinds of disparities inspired the formation of the Guerrilla Girls, an anonymous group of female artists who resisted sexism and the exclusion of women artists by pasting posters in the streets that listed outrageous facts about discrimination. It is believed that PESTS began doing work soon after, in late 1986, and were started by a member of the Guerrilla Girls in order to focus on the discrimination against and exclusion of artists of color. They used similar strategies and approaches as the Guerrilla Girls, such as attention-grabbing text, bold fonts and images, humor, and data.

This was the 1980s, an era before social media, email, or quick Internet research. Activist groups met and collaborated in person. They visited galleries and museums to count the number of works on the walls by women artists or artists of color, and counted the exhibiting artist names listed in art magazines. Based on this type of research, PESTS created newsletters that both called out the art galleries that were “100% white” (in that they only showed the work of white artists), and highlighted shows that were featuring artists of color in order to create more visibility for those artists and galleries.

There is not a lot of information available about the individual artists who were part of PESTS—and that’s the point! The members maintained their anonymity in order to protect their careers and avoid bringing attention to themselves. Their purpose was to bring attention to the issues they and their fellow artists of color were experiencing as they tried to build their artistic careers in an extremely discriminatory environment. Additionally, because PESTS mainly created ephemera such as flyers, letters, and newsletters, there is little other information about the group. Nevertheless, some museums and research institutions keep copies for people to learn from today.

A person who takes action to improve communities and society or to challenge injustice and inequality through activities such as organizing, protesting, educating others, or advocating for change.

An umbrella term that includes all of the people and institutions involved with making, presenting, buying, and selling art. This term typically refers to artists, collectors, art critics, galleries, and museums.

Systematic racial exclusion, segregation, and discrimination in the context of the art world.

The suppression or restriction of speech, communication, or information-sharing that occurs even though it is not sanctioned by the law.

Actions stemming from conscious or unconscious prejudice, which favor and empower one group over others based on differences of race, gender, economic class, sexual orientation, physical ability, religion, language, age, national identity, and other categories.

Items such as posters or tickets that were originally meant for one specific use, but later become collectibles.

An anonymous group of female artists who resisted sexism and the exclusion of women artists through their posters and publications using strategies such as attention-grabbing text, bold fonts and images, humor, and data. The group started around 1985 and continues today.

A condition in which nearby objects are clearly seen, but distant objects appear blurry or unclear. When used as a metaphor, it implies that the viewer only notices what is near them, and misses other details.

Prejudice and discrimination against people because of their race.

Unfair treatment of people based on their sex or gender, often rooted in the idea that one gender is superior to another. Sexism can affect how people are treated at school, at work, or in everyday life through unequal opportunities or expectations.

The practice of including a member of a group only to give the appearance of inclusion.

Being seen, recognized, and valued by society instead of being ignored, overlooked, or excluded.