The papers of New York City arts administrator Porter A. McCray measure 12.3 linear feet and date from 1936 to 1989. The papers include scattered biographical materials, correspondence, and writings and notes. The bulk of the collection consists of professional files documenting his advisory and consulting work for museums, institutions, organizations, and foundations. Also found within the collection are printed materials and photographs of McCray and artwork.

The papers of art historian and museum curator W.G. (William George) Constable measure 25.7 linear feet and date from 1905 to 1981, with the bulk of the material from 1920 to 1976. The papers include biographical material; professional and personal correspondence; extensive lectures, writings, and notes; exhibition and book research files; printed materials; and photographs, glass plate negatives, and slides. There is substantive correspondence related to Constable's participation in the American Defense Harvard Group and about the formation of the Roberts Commission, including correspondence with Ralph Perry, Hugh Hencken, Paul Sachs and George L. Stout. There are numerous official reports prepared by Constable after World War II for the U. S. Office of Military Government for Germany.

The records of Jancar Gallery, located in Los Angeles, California, measure 2.5 linear feet and 23.80 GB and date from circa 1972 to 2015, with the bulk of the papers dating from 2006 to 2014. The collection includes exhibition and artist files; administrative and financial records; printed and digital material; and records of the Jancar/Kuhlenschmidt Gallery.

The papers of woodturner Bob Stocksdale and fiber artist Kay Sekimachi measure 19.5 linear feet and date from circa 1900 to 2015. Found are biographical materials, correspondence, writings, professional files, exhibition files, project files, personal business records, printed material, scrapbooks, photographic material, and artwork. Of note are records from Sekimachi's forced internment during World War II at Tanforan Assembly Center and Topaz War Relocation Center from 1942 to 1944.

The papers of craft expert Rose Slivka, an editor, writer, critic, and educator, measure 20.8 linear feet and date from circa 1947-2006. The papers reflect Slivka's work with associations and universities to encourage the recognition of crafts as an international and broadly defined art form. The routine business of publishing Craft Horizons magazine and the founding and operation of Craft International magazine are documented by correspondence and subject files. Correspondence is mainly professional with some scattered personal letters. Subject files concern various organizations, individuals and events related to Slivka's work and interests. Among the writings are manuscripts, notes, and research materials for her book about Peter Voulkos; also included are shorter writings on a variety of topics, poems, 2 diaries, lectures and talks. There are many interviews with craftspeople and artists conducted by Slivka and others, some undertaken as research for articles. Photographs include views of Slivka, craftspeople she observed when traveling abroad, and artwork.

This accession consists of records documenting the activities of the Smithsonian Institution Traveling Exhibition Service (SITES) in regard to the planning, execution, administration, and promotion of the major traveling exhibitions "In the Spirit of Martin: The Living Legacy of Dr. Martin Luther King, Jr.," "Jim Henson's Fantastic World," ...

The records of Vose Galleries of Boston measure 25.6 linear feet and date from circa 1876, 1890s-1996 with the bulk of materials dating from 1920s-1930s. Nearly 90 percent of the collection documents the gallery's handling of American paintings and portraits through incoming and outgoing business correspondence with artists, clients, galleries, and museums, including considerable correspondence with portrait artist Alfred Jonniaux and clients regarding commissioned portraits. Other materials include client files; artists' biographies; records of sales, consignments, framing, restoration, and banking, mostly from the 1940s-1960s; and scattered exhibition catalogs, newspaper clippings, and postcards. Also found is a handwritten manuscript regarding the 1876 Centennial Exhibition in Philadelphia, PA and a 1991 videotape about the Vose Galleries and its founding family.

The papers of Joseph Cornell (1903-1972) measure approximately 24.9 linear feet and date from 1804 to 1986 with the bulk of the material dating from 1939-1972. The collection documents the life, work, interests, and creative activities of the self-taught artist, who was best known for his shadow box constructions, assemblages, and collages. Papers include correspondence, diaries, source material, notes, writings, photographs, printed material, two- and three-dimensional ephemera, art works, and books, as well as a limited amount of legal and financial records, and some miscellaneous personal and family papers. The collection also includes the papers of his sister, Betty Cornell Benton, relating to the handling of Cornell's estate and the personal papers of his brother, Robert Cornell.

The records of the Howard Wise Gallery in New York, and its predecessor the Howard Wise Gallery of Present Day Painting and Sculpture in Cleveland, Ohio, measure 11.4 linear feet and date from 1943-1989. Records consist of correspondence, artist files, exhibition files, business records, writings, and video recordings that document the activities of Wise's gallery in Cleveland from 1957-1961 and, to a lesser extent, his gallery in New York City from 1960-1970. Wise's activities following the closing of the Howard Wise Gallery are also found among the correspondence, artist files, business records, writings, and video recordings.

The papers of influential blacksmith, sculptor, metalsmith and educator, L. Brent Kington, measure 9 linear feet and date from 1944 to 2012. The collection provides a valuable overview of Kington's career through correspondence relating primarily to exhibitions, subject files, drawings, photographs of Kington and his artwork, printed matter and audiovisual material. An additional 5.2 linear feet of papers was accessioned from 2007 to 2012 and remains unprocessed.