African-American potters have historically taken an unfortunate back seat in the story of American ceramics. Long primarily portrayed as background figures--usually enslaved workmen--lurking in the shadows behind other white craftsmen, black stoneware and redware manufacturers have finally taken a rightful place in the foreground of the pantheon of American pottery. Major new publications and exhibitions have been played a large role in making this happen, as has a radical shift in the mindset of those presenting decorative arts to the public. From the very beginning of Crocker Farm--long before it became fashionable to do so--we have consistently made a point of