The papers of arts administrator Mildred Baker measure 2.7 linear feet and date from 1882 to 1997, with the bulk of the material dating from 1923 to 1997. Found within the papers are biographical materials; personal and professional correspondence; writings; files related to her work on the WPA Federal Art Project and other institutional art projects; printed material; photographs of Baker; and photographs and papers related to the work of her husband, Jacob Baker, who also administered programs for the WPA.

The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Series 1 consists of almost entirely black and white photographs, but in the subseries of clients, there may also be job envelopes, order materials, and other photographic material types that were included in the overall order. An overview to the entire Scurlock collection is available here: Scurlock Studio Records.

The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Series 5 consists primarily of color negatives but it also includes order envelopes and materials. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

The Naomi Savage papers on Man Ray measure 1.6 linear feet and date from 1913-2005. The collection provides an overview of Man Ray's career as a photographer and painter through correspondence, exhibition files, writings, notes, artwork, printed material, and photographs.

An exhibition on the presence and contributions of persons of African descent and Muslim heritage in America during the eighteenth and nineteenth centuries. The exhibit presented vignettes of figures - enslaved and free - known for their passion for freedom, pioneering spirit, and faithfulness. Amir N. Muhammad and Collections and Stories of American Muslims, Inc.(CSAM) serve as guest curators for this exhibition held from July 11 to October 16, 2005. These records document the lecture and tour given by Amir N. Muhammad.

An exhibition documenting the historical journey made by people from Africa to the Americas, along with their language and music. In the 1930s, Lorenzo Dow Turner discovered that the Gullah people of Georgia and South Carolina retained parts of the culture and language of their West African enslaved ancestors. Turner's research produced a living treasury of previously unknown traditions, songs, and folkways that also uncovered and illuminated the connections with West African and Afro-Brazilian communities.

The papers of Thomas Wilmer Dewing and the Dewing family measure 0.3 linear feet and date from 1876-1963. Found within the papers are biographical materials on Thomas Dewing; personal correspondence from Dewing, his wife Maria Oakey, and other family members; writings; printed materials; and photographs of Dewing, his family, and his work.

Twenty glass plate negatives and reference copy prints of the images taken between the late 1880s and the early 1900s by Frances Benjamin Johnston and Thomas W. Smillie. The images depict the skyline of Washington D.C., views from the 1893 World's Fair: Columbian Exposition, blueprints for the Smithsonian Arts and Industries Building, and an unidentified orchestra.

An exhibition on contemporary African American women artists curated by Robert L. Hall and exhibited at the Anacostia Museum of the Smithsonian Institution from November 1990 to April 1991. Artists included are: Erlena Chisolm Bland, Lilian Thomas Burwell, Yvonne Pickering Carter, Margo Humphrey, Martha Jackson-Jarvis, Viola Burley Leak, Winnie Owens-Hart, Stephanie E. Pogue, Malkia Roberts, Gail Shaw-Clemons, Sylvia Snowden, Renée Stout, Denise Ward-Brown, Joyce E. Wellman, and Adell Westbrook.

The papers of Abstract Expressionist painters James Brooks and Charlotte Park measure 18.7 linear feet and are dated 1909-2010, bulk 1930-2010. Correspondence, subject files, personal business records, printed material, and a sound recording document his painting career, interests, professional and personal activities. Also found are biographical materials, interviews, writings, and art work. The collection also includes papers of his wife, Abstract Expressionist painter Charlotte Park, regarding her painting career, personal life, activities as executor of James Brooks' estate, and some material concerning the James Brooks and Charlotte Park Brooks Foundation. There is a 1.4 linear foot addition to this collection donated in 2017 that includes 58 "week-at-a-glance" appointment books, three journals and one address/ telephone book of Charlotte Park; a hand written chronology with significant dates and notes; postcards and exhibition announcements sent to Charlotte and James; doodles; and a sketch, possibly by Don Kingman.