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This chapter talks about the sculpture that seemed to be a bathtub filled with women: Elizabeth Cady Stanton, Lucretia Mott, and Susan B. Anthony, three women known in the fight for women's rights. It details how the “bathtub sculpture” had become notorious when a group of women organized by the National Women's History Museum waged a campaign to raise it from the basement up to the much-visited Rotunda. Many policy issues arose between the Park Service and the National Endowment for the Arts, such as the Park Service's many unbendable strictures for preserving the historic remains of the Wesleyan Chapel. The chapter addresses whether the Wesleyan Chapel, as a religious symbol, affected the 1848 convention and whether it should affect the new design. It describes Ray Kinoshita and Ann Marshall's winning design, which was haunting and challenging and has the intention to create an emotional reaction and intellectual understanding.
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