Virgin Islands Democrats have sued, demanding the Elections System not distribute nomination papers. (Shutterstock image)
The Democratic Party of the Virgin Islands has asked a federal judge to bar the territory’s Elections System from distributing nomination papers ahead of the Aug. 1 primary election, according to court records.
At issue is the role the Elections Systems should play in primaries — where political parties choose who will represent them in the general election.
In 2024, District Court Chief Judge Robert Molloy ruled eight sections of the V.I. Code were unconstitutional because they improperly asserted control over how nongovernment entities organized themselves.
Nomination petitions offered by the Elections System allow qualified Virgin Islanders to be considered for public office. The process is partially spelled out in the V.I. Code, Title 18, Chapter 17. The law allows prospective candidates to list their political affiliation or, if choosing none, be listed as an independent candidate. Although portions of the law were recently repealed, it still requires the elections office to print and distribute nomination papers. Whether that includes primary elections seems to be up for interpretation.
The lawsuit filed by Democrats Tuesday argues distributing these papers is unconstitutional as it interferes with political parties’ internal governance. They’ve asked the court to prohibit Elections officials from handing them out.
“Unless immediately enjoined, defendants’ conduct will inflict irreparable harm upon DPVI’s fundamental First Amendment rights and throw the upcoming primary election into chaos,” they wrote in the suit.
The Virgin Islands political party also complained the Elections System did not take up or even acknowledge a separate, Democrat written process for certifying primary election results.
On Tuesday, Molloy ordered a pretrial conference on the matter set for April 21.
Last week, Congressional Delegate Stacey Plaskett and four Democrats seeking to take her place in the U.S. House of Representatives wrote the Virgin Island Legislature, demanding it allocate money for the primary elections — something they said was required by law.
Independent candidate Shelley Moorhead refuted Plaskett’s interpretation of the law, saying in social media posts that 2024 court rulings barred public elections officials from helping organize political parties’ internal structure, such as electing leaders and committee members. Conducting primary elections themselves, however, was covered under Title 18 of the V.I. Code, he said.
Moorhead’s concern, he said, was whether it was appropriate to use tax money for primary elections that only party members could vote in — with only Democrats allowed to vote in the Democratic primary. The idea of opening primaries to all registered voters, regardless of party affiliation, has been around for more than two decades.
As the 2026 election cycle begins to take shape, a new broadcast forum is aiming to change how political conversations happen in the Virgin Islands — moving beyond familiar talking points and into something more direct, structured, and rooted in the community.
“Decision 2026: 20v1” produced in partnership with the Virgin Islands Source and VI Crawl, brings one gubernatorial candidate into conversation with twenty Virgin Islanders, each representing a different perspective from across the territory. The initiative blends production with journalism, helping shape a platform grounded in clear questions, context, and accountability.
The idea took shape, in part, after producer Shani DeWindt watched the final stretch of the Harris–Walz presidential campaign, where a compressed timeline and rapid messaging left little room for deeper civic engagement. She saw a similar challenge locally, where the political window is even shorter — and where voters often have limited opportunities to engage meaningfully with candidates beyond surface-level exchanges.
“This initiative is about strengthening civic engagement in a way that feels accessible, relevant, and rooted in community,” DeWindt said.
The format is intentionally structured: each of the twenty participants — referred to as “questioners” — brings forward a claim or perspective tied to an issue affecting the territory. Those claims shape the conversation, requiring candidates to respond directly and with specificity, rather than relying on broad campaign messaging.
For producer Tricia Homer, the project is also about creating a different kind of space – one that prioritizes listening as much as speaking.
“This is about creating space for real conversation,” Homer said. “Not just people talking at each other, but a place where people feel heard. Our ability to solve difficult problems is directly tied to how well we ask questions, how deeply we listen, and how we show up for each other in that process.”
Gabrielle Querrard, part of the production team, added that the format also responds to a gap many voters have long felt.
“One of the gaps we feel as voters is that there are a lot of panel discussions where candidates make broad promises, but there aren’t many spaces for meaningful dialogue or for them to get into the specifics of how those plans would actually work,” she said.
“20v1 creates an opportunity for candidates to be clear about their positions, while giving the community a more meaningful way to engage,” she said.
Organizers say the goal is to give voters a clearer understanding of each candidate’s vision, priorities, and approach to leadership — while also modeling a more intentional way of engaging in public conversation.
Filming is set to take place on St. Thomas over two weekends — May 30–31 and June 6–7, with the series expected to be released ahead of the party primaries.
More than a one-time production, “20v1” is positioned as a civic platform — one designed to encourage Virgin Islanders to move beyond familiarity and engage more deeply with the issues shaping the Territory’s future.
Community members can learn more, nominate questioners, or support the initiative – including through its GoFundMe campaign — at www.20v1usvi.com.
Federal marshals and other law enforcement officers were stationed outside the Superior Court building on St. Thomas March 5 after Desie C. Henry, a co-defendant in a kidnapping case, was shot and killed at the nearby Paul M. Pearson Gardens housing community. (Source file photo by Judi Shimel)
The kidnapping case against Troy A. Harrigan will proceed after a mistrial was declared last month when his co-defendant was shot and killed just as the jury was to begin deliberations.
In a ruling this week, Superior Court Judge Denise M. Francois ordered that a pretrial conference will be held July 21 on St. Thomas to set dates for jury selection and a new trial.
Harrigan and co-defendant Desie C. Henry Jr. were charged in September 2020 with kidnapping to exact money and multiple assault and weapons charges in connection with the alleged abduction of a man on St. Thomas.
The victim told police he was lured to a secluded location, bound with chains, and beaten and tortured over two days as Harrigan and Henry demanded $800,000 they believed he had stolen, according to court records. He eventually escaped and was rescued by a V.I. Police officer who happened to be patrolling in the area.
After years of delays and one false start last August when jury selection fell short, the pair went to trial Feb. 28. However, Henry, 32, was shot and killed outside the Paul M. Pearson Gardens housing community March 5 as he headed to court that morning in an attack that one Justice Department official termed an execution.
Francois subsequently granted an emergency motion for a mistrial, filed March 6 by Harrigan’s attorney Robert Leycock Jr., who said Henry’s murder “while charges remained pending against him has tainted the empaneled jury’s ability to deliberate fairly and impartially and constitutes manifest necessity for a mistrial. No curative instruction can adequately address the prejudice that flows from this extraordinary and tragic circumstance,” he wrote.
“Having received the motion and under the circumstances (the murder of co-Defendant Desie C. Henry, Jr. at about 8:43 a.m. on March 5, 2026, before the jury was charged and began its deliberations), the Court finds that there is no alternative but to declare a mistrial for reasons of manifest necessity and to dismiss the jury,” Francois said.
Criminal Chief Timothy Perry said at the time that a mistrial would not deter prosecutors from pursuing the case. “We expect this matter will come back up for trial,” he told the Source, adding that “it is not the standard of justice in the Virgin Islands that a trial can be disrupted through extrajudicial acts like the murder of this young man.”
DJ Parson performs on trumpet during the Interlochen Arts Academy’s Imagine U.S. national tour, which included stops in Detroit, Philadelphia, and Boston alongside Yo-Yo Ma. (Submitted photo)
For DJ Parson, the past few weeks have meant moving quickly — rehearsals, travel, and performances across multiple cities — culminating in the kind of moment most young musicians don’t often get early on: sharing a stage with Yo-Yo Ma.
The St. Thomas native, now a 16-year-old jazz trumpet major at the Interlochen Arts Academy, recently completed his first national tour, performing in Detroit, Philadelphia, and Boston as part of “Imagine U.S.: Celebrating America at 250,” a multi-disciplinary production bringing together young artists from across the country. Selected through a competitive process as the tour’s only jazz horn player, Parson contributed to both performance and original work, including music scored for a student-produced film.
For Parson, the experience marked a first. It was his first time touring across multiple cities— moving from late-night rehearsals into early travel days and back onto the stage, often with little downtime in between. At the same time, the work extended beyond performance. He contributed to an original piece developed alongside fellow students, later paired with a short film and performed live as part of the program — an example of the kind of cross-disciplinary collaboration that defined the tour.
“The experience was very fun,” he said. “Being with everyone and being able to express the music we created… to so many people—that was the best part.”
The program itself brought together music, film, and other disciplines, with students performing works ranging from a newly commissioned cello concerto by Wynton Marsalis to a reimagined version of Charles Ives’ “Symphony No. 4.” The pace was demanding, but it also offered something harder to replicate in a classroom setting — learning in real time, alongside other artists working at a high level.
Back home, that kind of environment wasn’t unfamiliar — it just looked different. While on St. Thomas, Parson attended Antilles School, where he credits the band program as a key part of building his foundation as a musician. The son of United Jazz Foundation founder Nicole Parson and Emmy award-winning Virgin Islands musician Dion Parson, he also grew up around rehearsals, performances, and working musicians, absorbing the process as much as the sound.
“I’ve always been around jazz,” he said, including figures like Wynton Marsalis, who was involved in shaping parts of the tour and has long worked alongside his father. From there, the learning became more direct, with musicians offering guidance not just on technique, but on how to approach the instrument and the work.
“All the members of my dad’s band have been very supportive,” he said, pointing to players like trumpeter Melvin Jones and others who helped shape his development over time.
Even while studying at Interlochen, Parson has continued to return home and perform locally, building on that foundation while staying connected to the community that helped shape his early growth.
“Surround yourself with people that are better than you,” he said. “You learn more hearing them play … it helps you become better musically and personally.”
Now finishing his second year, Parson is focused on what comes next — more performances, more opportunities, and more time putting in the work.
“I’m just trying to put in as much time as possible,” he said, “and take advantage of every opportunity.”
The French Academy of Performing Arts has announced that three dancers, ages 8, 9, and 10, have been accepted into multiple summer intensive programs at the world-renowned Joffrey Ballet School, marking a historic achievement for the Virgin Islands.
Dior James, Nubia Richards, and Azalea Pearsall celebrate a milestone after earning acceptance into multiple summer intensive programs at the Joffrey Ballet School. (Photo courtesy Lea Scott)
The accepted students are Dior James, Nubia Richards, and Azalea Pearsall. Each successfully completed a competitive audition process and has been invited to attend a range of prestigious programs, including the NYC Ballet Intensive, JoffreyRED Program, Joffrey Italy, and the NYC Musical Theater Intensive, among others.
With more than 60 years of global impact, the Joffrey Ballet School is recognized as one of the most prestigious dance institutions in the world, known for its rigorous preprofessional training and its pioneering role in shaping American dance through both classical and contemporary techniques.
All three students are full-time FAPA dancers committed to a comprehensive training schedule that runs Monday through Saturday. At the heart of their training is classical ballet, which shapes strength, technique, posture, and artistry. In addition to ballet, the dancers train across multiple genres, including modern and contemporary, jazz and theater, gymnastics and acrobatics, and fusion-based performance training.
FAPA’s success is built through intentional audition training and professional preparation. Students underwent a focused three-week training process designed not only to secure acceptance but to prepare them to thrive in prestigious programs. Beyond the studio, these dancers are also members of the FAPA Dance Team, an elite group that travels annually to regional and national competitions, representing the Virgin Islands on major stages. Through competition experiences, they gain advanced performance confidence, real-world stage exposure, competitive discipline and resilience, and national recognition and scholarship opportunities.
FAPA students practice technical skills one evening in class. (Photo courtesy Lea Scott)
Lea Scott, director of FAPA USVI, believes that dancers should be taught using a well-rounded approach, which focuses on the whole child. “Even our youngest dancers are taught the importance of proper ballet technique, body placement, flexibility, strength, stage presence, and most importantly, respect for the art form. Students train in multiple dance styles and we also focus on character development, leadership, teamwork, and helping children to believe in themselves,” Scott said.
Scott noted that FAPA dancers work very hard, with students ranging from part-time (one to three days per week) to full-time (daily). Many train each week and participate in workshops, performances, community events, competitions, and auditions. “We believe in preparing students to not only succeed at home within FAPA, but to feel confident walking into prestigious opportunities anywhere in the world. Through structured training, students learn discipline, professionalism, and conduct expected in major dance institutions and programs,” Scott said.
The French Academy of Performing Arts also provides after-school programs, summer and winter programs, and guest teacher workshops throughout the year. These programs are designed to give children and teens additional opportunities to grow through dance, performing arts, creative learning, and leadership development in a safe and positive environment. Students are able to continue building their skills beyond regular classes through special intensives, holiday camps, community performances, and visiting artist experiences.
In addition, FAPA is committed to strengthening the local arts community by opening its doors to local teachers, artists, and entrepreneurs who would like to join in its mission of serving the youth of the Virgin Islands. The studio welcomes partnerships, workshops, and collaborative programs that help expand opportunities for children and families. FAPA has become a hub for local talent, bringing together educators, performers, small businesses, and creative leaders who share a passion for inspiring the next generation.
Higher educational and professional learning opportunities in the arts can be expensive due to travel, hotel accommodations, preparation costs, uniforms, costumes, and program fees. According to Scott, the cost for one student to participate in an educational trip, competition, or intensive can range from approximately $1,500 to $5,000. FAPA students travel not only in the United States, but also internationally for opportunities in places such as France, the United Kingdom, and Italy.
The community can support FAPA by attending performances, sponsoring students or special events, and volunteering. Through FAPA’s nonprofit partner, The French Ballet Theatre Inc., community members and businesses can directly support higher educational opportunities in the arts for children in the Virgin Islands.
To learn more or support a student, community members may contact 340-626-1545.
“Our children are capable of amazing things when they are given the opportunity, the proper guidance, positive attention, and support to grow. FAPA is proud to help open doors for young people and show them that their dreams are possible; that they can take more steps forward to greatness,” Scott said.
What started as a small effort to turn discarded plastic into useful products on St. Croix is now heading to the global stage.
RePlastic Recycle LLC, owned by Steve Chmura, Amy Bowler and Lacy Geddie, has been selected to present at the 2026 Global Sustainable Islands Summit in Gran Canaria, Canary Islands — an opportunity that will place the company’s island-built model for tackling plastic waste before world leaders and environmental experts.
RePlastic Recycle LLC, owned by Steve Chmura, Amy Bowler and Lacy Geddie. (Photo courtesy RePlastic Recycle LLC)
The recognition comes as the company continues to expand its work at home, supported in part by a $1.5 million grant investment facilitated by the Bryan-Roach administration and managed by Chemonics International through the University of the Virgin Islands Research and Technology Park.
Albert Bryan Jr. described the milestone in a Government House press release as “a proud moment for the Virgin Islands,” pointing to RePlastic as an example of local innovation gaining global attention.
“When a company born on St. Croix earns the opportunity to stand before the world and offer a real solution to a problem that affects island communities everywhere, that is something the Virgin Islands should take pride in,” Bryan said in the release.
For the founders, the journey to that moment began long before the invitation.
Chmura and Bowler first came to St. Croix as traveling nurses, planning only a temporary stay. Instead, they found a home — and a problem that was impossible to ignore.
“We fell in love with the island and made it home,” Bowler said. “We wanted to do something that not only helps the environment but gives back to the community.”
Like many island communities, the territory faces persistent challenges with plastic waste, much of which ends up in landfills, guts and coastal waters. For RePlastic’s founders, the issue wasn’t just environmental — it was an opportunity to rethink how waste is valued.
“Plastic waste is seen as something to get rid of,” Chmura said. “We see it as something that can be turned into something useful for the community.”
Today, RePlastic is working to convert plastic waste into construction materials such as interlocking blocks, dimensional lumber, pavers and custom tiles — products that can be used locally, reducing both waste and reliance on imported materials.
“We are presenting our business model and system design because we’ll be putting systems on other islands, and our global headquarters will be here in St. Croix,” Chmura said.
That model — designed specifically for island environments — is what drew the attention of Island Innovation, which invited the company to present at the summit. The event brings together government leaders and private-sector innovators from small island developing states to collaborate on climate and sustainability solutions.
Back home, the company is already expanding its reach.
Through a partnership with the Virgin Islands Waste Management Authority, RePlastic will launch a new plastic collection initiative on St. Croix beginning April 27. Residents will be able to drop off clean plastics labeled #1, #2 and #5 at the Peter’s Rest Convenience Center, Monday through Saturday from 9 a.m. to 4 p.m.
The emphasis on clean materials is critical, Geddie said, both for worker safety and for maintaining the quality of the final products.
All materials collected will be processed locally, part of a broader effort to build a circular economy within the territory — one where waste is reused rather than exported.
The company is also preparing to scale its operations with plans for a 10,000-square-foot facility at the William D. Roebuck Industrial Park. There, plastics will be sorted using an AI-powered robotic system and manufactured into building materials at a larger scale.
Beyond production, RePlastic is investing in people.
Plans are underway to develop a makerspace and technology hub in partnership with the Research and Technology Park, creating opportunities for students and residents to gain hands-on experience with advanced manufacturing systems.
The goal, the founders say, is to ensure that innovation doesn’t just happen in the Virgin Islands — but stays there.
“This is not recycling for recycling’s sake,” Bryan said in the release. “This is about taking a burden on our environment and turning it into something useful, marketable, and capable of helping build a stronger Virgin Islands.”
As RePlastic prepares to present its work on an international stage, its founders say the mission remains rooted in the same idea that started it all: solving local problems in ways that benefit the community.
A new group exhibition challenging traditional ideas of Virgin Islands art will open Friday at Salt of the Earth Tattoo in Royal Dane Mall on St. Thomas.
The show, organized by artist and curator Lucien Downes under the banner of Virgin Islands Contemporary, features 10 artists working across a range of visual mediums.
The opening reception is scheduled for Friday, from 5 to 9 p.m. Regular viewing hours will continue Saturday and Sunday, from 10 a.m. to 6 p.m.
A multicolored Moko Jumbie dances across the canvas in a textured piece created by Lucien Downes. (Photo courtesy Lucien Downes)
Featured artists include Brenda L. Cotto, Amy Gibbs, Lucien Downes, Jon Euwema, Elroy Simmons, Kristin Forbes-Mullane, Chunikwa George, Eliana Schuster Brown, Eric Paxton, Tamara Michael, and Meagan Lyn. Their work highlights themes of cultural evolution, identity, and contemporary Caribbean perspectives, moving beyond familiar iconography, such as seascapes, Moko Jumbies, and strictly historical narratives.
Downes, who previously managed an art supply store, describes his own practice as one rooted in experimentation with materials and technique. That sentiment, he says, extends to the group as a whole. “My artwork has always been different, whether it’s the material I used or the way I used said materials. I always wanted to push the boundaries of what Virgin Islands art is supposed to look like, not just regular Moko Jumbie, seascape or historical themes the way they were usually portrayed, but in a more modern take on them. I created Virgin Islands Contemporary to find like-minded artists to add to the conversation,” Downes said.
When asked to define the common thread linking the participants, Downes emphasized ideology over aesthetics. “I would say more of an ideology of what each of us views as contemporary art, and the way we choose to express these concepts. I am always exploring new ideas and materials. Having been, in my previous life, an art store manager, I learned a lot about art materials and what they did,” he said.
The exhibition also carries a pointed message for local audiences. Downes hopes the event will challenge perceptions about the viability of an artistic career in the territory. “It’s important for locals to show up so they can see that being a working artist is a viable occupation and also for them to open their minds to other ways of viewing common themes,” Downes said.
Admission is free and open to the public. For more information, contact Lucien Downes directly at luciendownes@hotmail.com.
Kenneth Rohan Changa, affectionately known as “Changa,” was born on February 9, 1969, on the island of Trinidad to his loving parents, Sylvia and the late Cecil Changa. He was the first son and a cherished member of his family.
Kenneth Rohan Changa
On January 9, 1991, Kenneth married the love of his life and devoted partner, Avian Changa, with whom he shared a beautiful and enduring union. Together, they were blessed with two loving children, Arianne and Kyle Changa, who were the pride and joy of his life.
Beyond his professional life; he had a deep love for cars and speed, reflecting his vibrant and spirited personality. Kenneth’s greatest passions were his family, especially his beloved grandson, Karson Changa, who brought him immense joy. He is also survived by his daughter-in-law Jessica Changa.
He will also be remembered by his special friends; Ludy, Burkle, Rolston, Ms. Franka, Stevie from Trinidad, Bryan “Changa”, Shakeem, and a host of other special friends and relatives too numerous to mention.
A funeral service will be held on Saturday, April 18, at the Apostolic Faith Mission, 487 Strawberry Hill, Kingshill, St. Croix, VI 00850. Viewing will begin at 10 a.m., followed by the service at 11 a.m.
Following the service, a motorcade will proceed in honor of Kenneth’s life, making stops at Angel Bar, Luddy’s Bar and concluding at Diageo USVI to commemorate his legacy.
Though we have lost a beautiful soul, Kenneth Rohan Changa will always be cherished in our hearts.
Commissioner Dr. Gary Molloy of the Virgin Islands Department of Labor is pleased to announce the launch of a comprehensive 10-Day Countdown Campaign leading up to the implementation of the territory’s new minimum wage of $12 per hour, effective April 24, pursuant to Act No. 9069.
Source file photo.
This campaign, themed “$12 by April 24: Prepare. Comply. Empower.”, is strategically aligned with the Administration’s guiding framework: One Vision. One Strategy. One U.S. Virgin Islands.
CAMPAIGN OBJECTIVES
The 10-day initiative is designed to:
• Ensure 100% employer awareness across the Territory
• Drive timely and full compliance with the law
• Educate employers and employees on legal obligations and enforcement provisions
• Reinforce VIDOL’s role as both a supportive partner and regulatory authority
Day 10 – Announcement & Awareness
This initiative is part of VIDOL’s campaign, “$12 by April 24: Prepare. Comply. Empower.,” aimed at ensuring employers are fully informed and prepared.
All employers are strongly encouraged to review their payroll systems immediately to ensure timely compliance with the new wage requirement.
Commissioner Dr. Gary Molloy emphasized that early preparation is critical to ensuring a smooth transition.
For more information, including access to the official Minimum Wage Poster, please contact the Division of Labor Relations, please contact VIDOL at St. Croix: (340) 773-1994 or St. Thomas: (340) 776-3700 or St. John: (340) 693-4367. You can also visit www.vidol.gov/ or follow us on Facebook at facebook.com/USVIDOL for updates.
The Division of Libraries, Archives and Museums, the State Historic Preservation Office, and the Historic Preservation Commission, in partnership with The Virgin Islands Architecture Center for Built Heritage and Crafts, announces a Call for Artists for When the Walls Answer, a juried exhibition at Fort Frederik Museum.
Fort Frederik (Fort Frederik Museum photo)
The exhibition honors the life and legacy of renowned Virgin Islands artist, scholar, and cultural preservation advocate Gerville René Larsen, and celebrates legendary Crucian artist El’Roy Simmonds for his lifelong contributions to the arts in the U.S. Virgin Islands. The exhibition will be presented at Fort Frederik Museum, a National Historic Landmark and site of profound historical significance where freedom was demanded and secured by Virgin Islands ancestors.
Conceived and curated by DLAM Chief Curator and VIAC Advisory Member Monica Marin, When the Walls Answer brings together works by established and emerging Virgin Islands artists, including students whose work engages architecture as a living archive of identity, memory, and cultural knowledge.
Presented during May, Cultural Preservation Month, the exhibition explores how the built environment bears the imprint of the people who created it, and how those stories continue to shape Virgin Islands’ identity today.
Gerville René Larsen’s discourse-shifting artwork and advocacy encouraged a deeper, more humanized reading of architecture, illuminating the African-Caribbean legacies embedded in place.
Architectural elements such as gingerbread fretwork, wrought-iron lattice screens, steep-pitched hip roofs, row houses, verandahs, courtyards, and climate-responsive design form a creolized visual language rooted in West African knowledge systems and reshaped through local materials, environmental adaptation, and cultural continuity.
Artists are invited to explore architecture not only as a synthesis of form and function, but as cultural inheritance and an expression of national identity. How does architecture reveal the cultural memory embedded in place? In what ways do buildings speak to histories of resilience, multiculturalism, and creative invention? How are contemporary forces—such as climate change, development pressure, gentrification, and generational land loss—reshaping these spaces and the communities connected to them?
The exhibition seeks works that engage the architectural and cultural landscape of the Virgin Islands through research, storytelling, and material exploration. Submissions may interpret historically or architecturally significant sites, examine vernacular building traditions, or reflect on the evolving identity of our built environment. Artists are encouraged to consider how their work can reclaim narrative, challenge colonial frameworks, and imagine pathways toward preservation, equity, and self-determination.
All media are welcome, including painting, drawing, photography, mixed media, sculpture, installation, and woodworking.
• Call for Artists Opens: Monday, April 13
• Proposal Submission Deadline: Monday, May 11
• Artwork Drop-off: Monday, May 25
• Exhibition Opening: Saturday, May 30
Fort Frederik Museum
Submission Requirements
• Artist bio (maximum 250 words)
• Project statement (250–500 words) describing engagement with exhibition themes
• Images of proposed or completed work (include title, medium, and dimensions)
Submit materials to:
Monica Marin, Chief Curator, DLAM
monica.marin@dpnr.vi.gov
