"Whose Art Is It?," an essay by Jane Kramer, talks about John Ahearn, an artist living in the South Bronx. Kramer describes John as a white male living in a predominantly African American and Hispanic community. His artworks sparked a great controversy not only in the town but the entire city of New York. His intentions were not to offend anyone but he created such a public outcry against his works that will be looked backed upon forever.
             John Ahearn was an active part of the community. "South Bronx is known as a place of suffering, poverty, crime, drugs, unemployment, and Aids" (Stimpson 18), but this did not stop Ahearn from making his artworks. His earlier works were plaster portraits of the people that lived there. Some even displayed them in their homes. So he gained acceptance in South Bronx, nobody really minded he was white. The place became home to him.
             "On April 1, 1986, the New York City Department of Cultural Affairs began to choose... an artist to create a piece in front of a new police station in the 44th Precinct" (Stimpson 19). With his gained popularity in the town, Ahearn was commissioned to make the sculpture. He believed that his sculptures should be looked upon as guardian angels or saints. He believed that the people in his work should be the everyday, real people.
             To commemorate a few of the people... having trouble surviving in the street, even if they were trouble themselves. He wanted the police to acknowledge them, and he wanted the neighbors, seeing them cast in bronze and up on pedestals, to stop and think about who they were and about what he calls their "South Bronx attitude" (Kramer 38).
             So he turned to his immediate neighbors and cast to make his pieces.
             In 1992, Ahearn created three bronze figures: Raymond, a Hispanic, with his pit bull Toby; Corey, an African American with a boom box and a basketball; and Daleesha a second African American youngster on a pa...