Johnson: Now Dig This! chronicles black art from 1960-1980, which provides a tale of the political social, and economic problems of not only Los Angeles blacks, but all African-Americans during an era of racial oppression.

Raiford: With the rise of the Black Panther Party and it’s striking leader Huey P. Newton, the era’s photography became a representation of American blackness, and the photos were seen as evidence of the parties’ violent, revolutionary nature.

Jones: These artists address the key issues of the county- institutional racism, economic oppression, and social indifference; with their artwork the divide between the streets and art disappeared, and the political edge carried through most of the era.

Summary:Now Dig This! discusses the political problems of the country; however throughout it’s inception is alters it message to chronicles more abstract tales of the black experience. The  divide between the streets and art changed. It’s art is highly community based, and it’s evolution has come from it’s ability to appeal to larger groups outside of African-Americans. Black art in the 1960s provides unique messages. An important question that arises is about the concept of “black art”. Can black art only be produced by African Americans, or can other groups tell the story of the black American experience? This arises from the white media’s depiction of the Black Panther Party, and their choice to manipulate racist fears. The images of the BPP were sexualized, and portrayed them often as violent terrorists. This obscured to message of community development, and social responsibility.