The papers of art collectors, art patrons, and philanthropists Lawrence and Barbara Fleischman measure 4.9 linear feet and date from 1837 to 1984, with the bulk of the materials dating from 1935-1979. The papers are comprised mostly of correspondence with artists, museums, and arts organizations. Also found are scattered biographical materials, artists' autograph letters purchased by the Fleischmans, exhibition files, notes and writings, printed material, and photographs.

These records consist of the correspondence of the director of the International Exchange Service along with invoices and shipping instructions. The bulk of the correspondence relates to the exchange of printed matter between parties in the United States and abroad.

This accession consists of records documenting the planning and production of exhibitions as well as professional activities and research. These records were created and maintained by Louise Allison Cort, Curator, 1995-2018; Associate Curator, 1994-1995; Assistant Curator, 1989-1994; and Museum Specialist, 1985-1989. Topics covered include lectures, research, collaborative projects, peer reviews, exhibition development, installation, traveling …

The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

The papers of social realist painter, photographer, printmaker, and teacher Ben Shahn (1898-1969) measure 25.1 linear feet and date from 1879-1990, with the bulk of the material dating from 1933-1970. The bulk of the collection consists of over 14 linear feet of incoming letters from artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Also found are biographical materials, project and source files, printed material, artwork by Shahn and others, photographs taken of and by Shahn, interview transcripts, sound recordings of interviews and a motion picture film.

This collection, which dates from 1926-1986, documents the output of Moses Asch through the various record labels he founded and co-founded, and includes some of his personal papers. The Asch collection includes published recordings, master tapes, outtakes, business records, correspondence, photographs, and film.

The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, and biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

The materials document the orders placed by the clients of the Scurlock Studio. The photographs primarily depict individual portrait sittings but there are also portraits of children, groups, and other subjects.

163 reel to reel tapes,136 VHS tapes, 188 cassette tapes, 100 DAT tapes, 20 467 tapes, 6 compact discs, 16 miscellaneous audio materials, all are mostly recordings of Fast Folk events or Fast Folk recording artists; 604 folders containing information and materials relating to magazines, recordings, events and business; objects related to the Fast Folk Musical Magazine

The Fast Folk Musical Magazine records, which date from 1982-2002, document the activities of Fast Folk Musical Magazine. The collection is comprised chiefly of audio/video materials and the paper business records of the company. Audio and video materials include phonograph records, reel-to-reel tapes, VHS videotapes, audiocassettes, digital audiotapes, compact discs and miscellaneous audio material. The paper records include press materials related to Fast Folk and Fast Folk recording artists, magazine source materials, recording agreements, lyrics, artist biographies, photographs, financial documents, correspondence, planning for events and other miscellany. Additionally, there is a Fast Folk t-shirt and a bag of Fast Folk pencils, pens and erasers.