Perhaps the most personal entry in celebrated sculptor Pace's ambitious African American Quartet is this first-person remembrance of what Martin Luther King Jr. meant to Pace while growing up in Alabama and Chicago. The design of the book, and indeed the entire quartet, features two-page spreads of wild, almost Basquiat-like art incorporating paint, jewelry, paper, plastics, and anything else that captures Pace's fancy. On the left-hand page goes the prose, which, though simple, is packed with restrained emotion: "Many years ago, in 1949, to be exact, when I was a little boy in Alabama, I saw signs that I did not understand." On the right-hand page, set atop the collage, is a historic photograph (in this case, a shot of "white" and "colored" water fountains). The effect is certainly busy but works toward Pace's electric presentation e overwhelmingness is mostly effective. What gives this volume its punch is Pace's willingness to incorporate his own biography. His family photos have just as much impact as the historical ones, which tend to be lesser-seen pictures: MLK sitting for a mug shot and the chaotic aftermath of his assassination. The latter is splotched with bloodlike paint and confetti good example of the unusual and brave look and feel of Pace's work.