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2nd Floor Mural Custom Aerospace Mural Curated by the Lancaster Museum of Art & History 1/1 1 - Ninety-Nine Womens Flight Group, 1932 Photographic Print 2012.999.48 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) Amelia Earhart being greeted at the United Airport in Burbank, CA on July 3, 1932 by women pilots from the Ninety-Nines Flight Group, L-R: Pancho Barnes, Elizabeth McQueen (founder of the Women’s International Association of Aeronautics), Amelia Earhart (completed the first solo crossing of the Atlantic by a woman in 1932), Clema Granger, Elizabeth Kelly Inwood, Gladys O’Donnell, Janet Roberts, Mildred Morgan, Valentine Sprague. All except McQueen were registered pilots. 2 - Jackie Cochran and Chuck Yeager, 1962 Photographic Print 2012.999.62 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) Jacqueline "Jackie" Cochran owner of Jacqueline Cochran Cosmetics, who became a world-class competitive pilot, was the woman to break the sound barrier, she flew a Northup T-38 with Chuck Yeager flying beside her. She also designed the first oxygen mask. 3 - USAF Aircraft being flown by Iven C. Kincheloe Photographic Print 2012.999.63 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 4 - Thomas C. McMurtry Photographic Print 2012.999.64.01 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) Thomas McMurtry was a former U.S. Navy pilot and Lockheed Corporation consultant before joining NASA in 1967. McMurtry was Associate Director for Operations at NASA Dryden from July 27, 1998, and also served as Dryden's acting Chief Engineer from February, 1999 until his retirement. In 1982, McMurtry received the Iven C. Kincheloe Award from the Society of Experimental Test Pilots for his contributions as project pilot on the AD-1 Oblique Wing program. In 1998 he was named as one of the honorees of the Lancaster, CA, ninth Aerospace Walk of Honor ceremonies. In 1999 he was awarded the NASA Distinguished Service Medal. 5 - Convair YF-102 Delta Dagger at Edwards Air Force Base, 1955 Photographic Print 2012.999.45 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 6 - USAF test pilot Robert A. (“Bob”) Hoover Photographic Print 2012.999.61 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 7 - NASA's Stratospheric Observatory for Infrared Astronomy (SOFIA) Photographic Print 2012.999.60 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 8 - William John "Pete" Knight Photographic Print 2012.999.55.02 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) William John “Pete” Knight, who holds world record for flight speed in a winged vehicle, graduated from the Air Force Experimental Flight Test Pilot at EAFB in 1958. After more than sixteen flights in the X-15A-2, Knight became one of five people to earn astronaut wings by flying an airplane into space. 9 - Chuck Yeager and Kit Murray shaking hands in front of an X-1A Photographic Print 2012.999.65.01 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO)

Gabriela Valiente < Back Reborn, Here By Gabriela Valiente Light miniature leaves sprout out of the ground, as one is fallen in the sea of dust and another is swept in dismay, the wind blowing and hushing planting the seed, in a land far away In the darkness of the tainted sky with flashes of white of distant stars that shine at night, may I not be reborn and rejoice in my own delight? In the light of a new day, of a new sun, of the new morning air, like the dew on my leaves which tranquilize me with a light glare. Will I not rejoice in my own fight? I grow and grow in this desert of land, find the skittles and sudden stops of rustling animals in the dry grass, and there I stand, tall and mighty as a trunk that surpasses the storm, so rare and so bold. When the dry season comes, the air becomes an acid that burns down my walls, leaving me weak and wilted. My interior rejoices as the warmth of the water particles surge within me, in the echoes of my stem. Should I not rejoice for the season that brings me mellowie air? All around me, the vast land, glistens like the sunlight on ripened grain, or like the moonlight night reflecting its glow over the horizon of the waters, or like the crystal gleams on snow. I too, glow, with an olive-drab colour, like the multiple feathers of greenie highlights of the birds picking at the dust, The dust picks back with the dry taste of dirt, in cases Picking at small ants coming out of their small homes. The more I live through the seasons, the more I appreciate this nature, Will I not rejoice in the death of my life? Will I not be again reborn into tiny sprouts each time more and more? Thankful I am to nature, Thankfully I live in this far away land. Previous Next

2023 < View Public Art Projects Lifelines by Nancy Baker Cahill 2023 Permanent Art Project Lifelines by Nancy Baker Cahill is an animated, monumental, augmented reality (AR) installation of ecological imagination. Geolocated in the Prime Desert Woodland Preserve (PDWP), a protected, historic desert in California’s Antelope Valley, Lifelines appears as three colossal Joshua trees surrounded by a ghostly murmuration of birds. Rich with wildlife and home to many species of insects, reptiles, mammals, and birds, this fragile ecosystem remains imperiled. The ongoing precarity offers an opportunity to reframe our interdependent relationship with this natural ecosystem and modes of planetary knowledge erased or ignored by the progress of modernity. The Antelope Valley, like so many other regions, bears witness to a somber past. This history subtly reminds us of the challenges and narratives that have shaped this land over the years. Human appetites for exponential growth and advancement have caused enormous harm: ecological, historical, and cultural. Lifelines underscores the majesty of Joshua trees in the form of towering, breathing trees that rhythmically expand and contract. They have been rendered digitally with glowing interiors, glimpsed with each exhale, to imply a mythic grandeur. By scaling the trees to colossal proportions, Baker Cahill challenges human exceptionalism. AR as a medium allows viewers to re-embed the human experience in nature without harming local flora and fauna, and to embrace new modes of perceiving. Unlike other forms of land art, AR is distinct in its ability to be both present and absent, to reveal what otherwise goes unseen, unheard, and unimagined. An elegiac melody, which weaves together five native bird songs, ambient desert sounds, and breathing, plays throughout the experience—at once celebratory, melancholy, and resilient. Bird songs are essential to Lifelines not just because of the plurality of songs heard today, but because of the traditional “Bird Songs” of the region’s First Peoples, social and funeral songs that tell migration stories, shared memories, and histories. To move through the PDWP is to encounter its enduring planetary intelligence, above and below ground. It offers a rare glimpse into how a protected desert ecosystem might thrive when treated with care and respect. Lifelines invites new considerations for its troubled past, imperiled present, and modes of inherited knowledge, which present the possibility of regenerative futures here and beyond. Lifelines , 2023 Nancy Baker Cahill Soundscape by Anna Luisa Petrisko Production by Shaking Earth Digital Located at Prime Desert Woodland Preserve 43201 35th St W, Lancaster, CA 93536

Back to Exhibitions Heavy Hope January 31 - April 19, 2026 • Past Exhibition Main Gallery Drawings, sculptures, and mixed-media installations that blend personal memory with unexpected narratives, pairing domestic and natural objects to spark conversations about meaning and interpretation. Part of Metaphor exhibition season Image Credit: Nathan Huff, Sunlight settle Sycamore , 2020 Courtesy of the Artist About the Artist Big Title I'm a paragraph. Click here to add your own text and edit me. It's easy.

< Back to ACTIVATION Michael Mabry, War = Death, 2003 digital file, dimensions variable, Los Angeles County Museum of Art, gift of the designer through Another Poster for Peace, image source: www.anotherposterforpeace.org Jessica Sabogal, Walls Can't Keep Out Greatness, 2018 digital print, 47 7/8 × 23 1/16 in., Los Angeles County Museum of Art, Decorative Arts and Design Council Fund, © Jessica Sabogal, photo © Museum Associates/LACMA Unknown, Speak Out Against the War, 1970 screenprint, printed at a student poster workshop at the University of California, Berkeley, 28 7/8 × 22 15/16 in., Los Angeles County Museum of Art, purchased with funds provided by the Decorative Arts and Design Council Acquisition Fund, photo © Museum Associates/LACMA Michael Mabry, War = Death, 2003 digital file, dimensions variable, Los Angeles County Museum of Art, gift of the designer through Another Poster for Peace, image source: www.anotherposterforpeace.org 1/4 What Would You Say? Activist Graphics from the Los Angeles County Museum of Art January 22 - April 17, 2022 Since the mid-20th century, California has been a beacon of both inventive design and political activism. Exploring the intersection of these two realms, this exhibition uses case studies from LACMA’s collection to demonstrate how designers and artists championed civil rights, opposed wars and injustice, and pressed for change. Skilled communicators by profession, they distilled complex issues into eye-catching images, often appropriating commercial art techniques—from newspaper broadsheets to screen prints to digital downloads—to distribute powerful imagery despite limited resources. Others led workshops and formed printing collectives, providing movements with new methods for disseminating their messages. Their works express both outrage and optimism, going beyond protest to envision alternative ways of living. Key figures and organizations including Emory Douglas of the Black Panther Party, Sheila Levrant de Bretteville of the Woman’s Building, Self Help Graphics & Art, and street artist Shepard Fairey achieved widespread acclaim and notoriety, galvanizing political movements and empowering marginalized communities. This exhibition was organized by the Los Angeles County Museum of Art in collaboration with the Lancaster Museum of Art and History; Riverside Art Museum; California State University, Northridge, Art Galleries; an Vincent Price Art Museum at East Los Angeles Collage. Local Access is a series of American art exhibitions created through a multi-year, multi-institutional partnership formed by LACMA as part of the Art Bridges Initiative. Previous Next

2019 < View Public Art Projects Apollo by Alex Couwenberg 2019 https://www.youtube.com/watch?v=ZNN7ZSaao4w

< Back to ACTIVATION 1/4 Sergio Hernandez Chicano Time Capsule, Nelli Quitoani January 22 - April 17, 2022 For forty years, the late Chicano artist and cartoonist Sergio Hernandez has echoed important cultural topics and socio-political issues of the Chicano community. Early on, Hernandez began working for “Con Safos Magazine”, the first Chicano literary magazine. Upon being recruited by “Con Safos” member and artist Tony Gomez, Hernandez began to align his practice with themes related to the emerging Chicano Movement or “El Movimiento”. The Chicano Movement was and still is geared toward advocating for “social and political empowerment through “chicanismo”, the idea of taking pride in one’s Mexican-American heritage, or cultural nationalism.” Across painting, cartoons, and murals, Hernandez satires socio-political happenings and provides an intimate perspective of the Chicano community. Influenced by Chicano culture, iconography, and artists alike, Hernandez’s work became a beacon calling for action and attention to the harsh realities faced by the Chicano community. The artworks in this exhibition are a small yet compelling collection of Hernandez’s contribution to the Chicano art and power movements. The panel of comic strips on display belong to the “Arnie and Porfi” comic series. Struggling with the duality of his identity as a Mexican- American, Hernandez often battled with his internal desire to adhere to conservative family-views and his newly found chicanismo. Hernandez expressed this conflict through satire and comedic relief through the Arnie and Porfi comics, visualizing the dystopian world. In other words, through art and humor Hernandez exposes the political oddities and disproportionate disparity experienced by Mexican- Americans. Sergio Hernandez (1948-2021) was born and raised in Los Angeles, California in the South Central area known as the Florence/Firestone District. He received his Bachelor Degree in Chicano Studies from San Fernando Valley State College, which is now known as the California State University, Northridge. Previous Next

back to list Super A Stefan Thelen’s anti-superhero identity Super A is a Dutch artist who uses traditional painting technique and a knack for design to create compositions that manipulate familiar iconography into mind-bending and inquisitive pieces. His alter-ego, Super A is the filter with which the life and observations of Stefan Thelen are distilled down and turn into inspiration. All of his work evolves out of personal experiences or thoughts that grow into concepts which tightrope between fiction and nonfiction. Super A is a mystery that leans on the art doing most of the talking for Stefan Thelen, taking the viewer into a wonderland walking down a yellow brick road in which Thelen’s figurative and modern surrealist compositions are providing playful puzzles to decipher.

back to list Tran Nguyen TRAN NGUYEN is an award-winning illustrator & gallery artist. Born in Can Tho, Vietnam, she currently resides in the peachy state of Georgia. Tran's paintings are created with a soft, delicate quality using colored pencil and acrylic on paper.

< Back Mother Comes to Venus North Gallery Zackary Drucker Zackary Drucker is a Los Angeles-based independent artist, cultural producer, activist, and filmmaker. Drucker utilizes photography, performance, and video to break downs pre-conceived notions of gender, sexuality, and identity. Drucker’s work explores potentialities for queer and trans futures, utilizing both narrative and non-linear storytelling to imagine new modalities of queer and trans representation. Drucker uses her experiences as a trans woman and those of her collaborators to showcase nuanced and varied accounts of trans existence. Drucker’s photography often accompanies her film practice, functioning as a figurative nexus of her performance and video work. Her photographic practice includes highly personal portraits that explore themes of voyeurism, intimacy, and personal history. Drucker often collaborates with trans matriarchs to explore models of queer motherhood. Her film Mother Comes to Venus, 2018, portrays a fictionalized post-gender Hollywood, envisioning a world where queer and trans people control their own narratives. Powerhouse agent, Venus Allen, grapples with her newfound power and responsibility towards representation and is visited by her spiritual “mother” for guidance. Drucker’s film Unison, 2013-2017, explores multi-generational queer identity. The film’s cast includes the late Mother Flawless Sabrina, a drag queen and queer activist, as well as Drucker’s real-life mother, and Van Barnes, a trans woman and frequent collaborator with Drucker. Dreamlike non-linear sequences of these figures evoke a visual depiction of trans and queer identity over the course of a lifetime. Previous Next

Up It Takes a Village Various Artists Artists: Betye Saar Lezley Saar Alison Saar Wyatt Kenneth Coleman Richard S. Chow Lisa Bartleson Scott Yoell Jane Szabo Rebecca Campbell It Takes a Village is comprised of six exhibitions addressing the dynamic of working as a community through the subjects of family, race, gender, and age. Featured in the Main Gallery at MOAH are the works of celebrated assemblage artist Betye Saar and her daughters, artists Alison Saar and Lezley Saar. It Takes a Village will also showcase solo exhibitions of Wyatt Kenneth Coleman, Jane Szabo, and Richard S. Chow, with site specific installations by artists Lisa Bartleson and Scott Yoell. Each of the artists featured in this exhibition explores the relationships and responsibilities of community. Betye, Alison, and Lezley Saar’s work consists of two and three-dimensional assemblages that examine history and identity through the juxtaposition of objects, photographs, mixed media, and fabric. The documentary photography of Lancaster resident Wyatt Kenneth Coleman chronicles the importance of engagement and oral history and the role it plays emphasizing the value of serving one’s community and family. Jane Szabo and Richard S. Chow present different work stylistically, but address similar themes of home, displacement, and sentimentality through conceptual photographs. Szabo records family history through objects while Chow’s images fabricate an imaginary history of what might have been if he had not been an immigrant. Lisa Bartleson’s large scale installation of hundreds of small hand-made houses explores the act of healing through community and engagement. The site specific work of Scott Yoell’s “Tsunami,” consisting of three thousand four-inch tall businessmen figures installed in a giant wave, represents the artist’s thoughts on the global economy and automation. Memory & Identity: The Marvelous Art of Betye, Lezley & Alison Saar Betye, Lezley and Alison Saar have created some of the most powerful, important and deeply moving art in our contemporary world. Their compelling works forge idiosyncratic constructions of social memory and personal identity, as well as the cultural histories underlying them. All three Saars assemble two- and three-dimensional works based on unexpected juxtapositions of form and content. They deploy the flotsam of material culture, from discarded architectural components (old windows, ceiling tiles, wall paper) to domestic detritus (washboards, buckets, shelves) to historic photographs and printed fabrics. “I like things,” Betye asserted in a recent interview. “Every object tells a story. If I recombine them, they tell another story.” In their aesthetic practice of collecting and recombining objects, the Saars become what French philosopher Claude Levi-Strauss called bricoleurs: creators who arrange preexisting articles and images to produce dramatic visual compositions. Levi-Strauss expanded the French term bricoleur (a “Do-It-Yourself” handyman) to include anyone who works with the materials at hand, cobbling together disparate parts to create novel solutions. All of the Saars use recycled materials not generally considered “appropriate” art media. Modern art academies, founded in Europe in the seventeenth century, had privileged oil paint on canvas and cast bronze as elite, “high art” media. In contrast, creations in jewelry, textiles and ceramics were considered “low art” or crafts. When the Saars employ objects like handkerchiefs and old books as painting surfaces, or tin ceiling tiles and buckets as sculpture, they violate long-held boundaries between high and low arts. Their material contraventions parallel the artists’ transgressions of identity-based binaries such as male/female, culture/nature and master/slave. Wyatt Kenneth Coleman: Beyond the Village Wyatt Kenneth Coleman is a freelance photojournalist whose career spans more than fifty years. While serving in the military during the Vietnam War, he studied at the U.S. Air Force Photography School, gaining skills that would benefit him in both his military and artistic careers. Coleman has dedicated his life to documenting social justice movements and people who strive to make a difference in the world around them. Coleman’s dedication to helping others is evident in both his artistic practice and humanitarian contributions. In addition to documenting the legacy of Dr. Martin Luther King Jr., Coleman established a collaboration with Coretta Scott King in 1979, which remained active until her death. Coleman was interested in the effect that the Civil Rights Movement had on the lives of ordinary people, stating, “When a person is committed and makes a contribution to their community, lives are changed and doing the right thing is really key.” His work documents every-day people participating in non-violent activism by committing acts of kindness and working towards social justice. Coleman seeks to emphasize the importance that engagement and oral history play in passing down the value of serving one’s community and family. Wyatt Kenneth Coleman has certifications from the Winona School of Professional Photography, the University of Minnesota and Santa Fe Photographic workshops. Coleman’s work has been shown in publications including 3M , Ebony and Jet Magazines and The Daily Word . Coleman has also been awarded for his selfless volunteer service in the communities of Minneapolis and St. Paul, and was recognized for his volunteer work at the Elm Avenue Community Garden by Assemblyman Tom Lackey, in addition to receiving an award from Lancaster City Council for his contributions to the community. Richard S. Chow: Distant Memories Richard S. Chow’s photography focuses on aesthetic, documentary and conceptual images. Technical precision and composition remain the hallmarks of his work, but Chow continues to examine all aspects of the artistic medium including homemade shooting devices, film, phone and high tech digital cameras. Chow’s interest in photography began during his formative years in Hong Kong. His family moved from Hong Kong to Los Angeles when he was sixteen. Those first years were difficult for an immigrant teenager due to language and culture shifts, and at times were overwhelming as he tried to find his place in this new world. As the American culture was slowly absorbed, southern California was a place that eventually provided him with comfort and inspiration as a young man. Chow now frequents the beach regularly as a place for relaxation and observation. With this series, Distant Memories, he captures the childhood that he could have experienced. Like finding shells on the shore, Chow collects visual memories and while they might not be his own memories, they allow him to imagine a childhood in a place he now calls home. Chow has widely exhibited in solo and juried exhibits across the United States and his work has been internationally published and is featured in several private and public collections. He is a producer/curator for global OPEN SHOW (Los Angeles Chapter), a non-profit that provides a forum for dialog between the public, artists, galleries and collectors. Chow earned awards in Lucie Foundation’s IPA International Photography Awards four years in a row (2013-2016) and he was honored with gold, silver and bronze awards from Tokyo International Foto Awards. Chow lives and works in Los Angeles. Lisa Bartleson: Kindred Lisa Bartleson, known primarily as a sculptor, is an artist who uses resin and ceramic material in both two and three dimensional work. She is known for using natural pigments, inviting a calm, constant and enduring contemplation from the viewer. Lisa Bartleson’s Kindred is a large-scale installation composed of over 200 slip casted porcelain houses that have been manipulated and traumatized, displaying various stages of physical and emotional restoration that explores healing in and by the community. In this work, Bartleson references the Japanese tradition of kintsugi as an exercise of restoration. Kintsugi is the art of repairing broken pottery with gold lacquer as a way to emphasize and celebrate the history of a piece rather than disguise its past. The multitude of houses are bound together by their shared experience and placement. From a standing position one views the entire installation from a bird’s-eye view, similarly to how people perceive and rearticulate memory. The object as body, scarred but beautiful, strong and elastic, becomes central to the experience. The onlooker is asked to examine their cracks caused by physical and/or emotional suffering and the communal foundations of memory and recovery that filter, shift and support identity. Bartleson layers the experience with her own heartbeat and the sound of a baby’s heartbeat in the womb, reminding us that we are all built from material, memory and a universal cycle of life. She earned a Bachelor of Arts from the University of Northern Colorado. Her work is in many prominent public and private collections including the Lancaster Museum of Art and History. Bartleson has been featured in many publications such as White Hot Magazine , Fabrik Magazine , Huffington Post , LA Art Diary , Architectural Digest and Sunset Magazine . Lisa Bartleson was born in Seattle, Washington and currently resides in northern California. Scott Yoell: Tsunami Scott Yoell has delved into traditional and electronic media with his most recent works being drawing, sculpture and video/sound installation. Yoell’s fascination with trinkets and the nostalgia they provoke inspired the Tsunami installation. Yoell first conceived the idea of Tsunami many years ago when visiting a shop in Omaha, Nebraska. He found “a trinket figure, a little metal business man.” The tiny trinket reminded Yoell of the figures atop of trophies, but wondered what a suited man could represent. Intrigued by the unknown, he bought the figure and from it stemmed the idea of Tsunami. This installation consists of three thousand figures, all standing approximately four inches tall. Each figure is of a man in a business suit and hat holding a briefcase. The figures are cast in a “flesh-toned” plastic and are formed from the same mold. The mold deteriorates over time, causing each figure to have minor differences, making each one unique. These individual, tiny men come together to form a tsunami, an unusually large waved caused by a shift in the earth’s foundation. Yoell has a Bachelor of Fine Art from the University of Windsor, Canada and a Master of Fine Art in Imaging and Digital Arts from the University of Maryland. His work has been featured in The Contemporary Museum’s Biennial of Hawaii Artist Exhibition , Honolulu, Hawaii, the Galleria Art Mûr, Montreal, Quebec and Artcite, Windsor, Ontario. Yoell has been featured at the Videoholica 2010 International Video Art Festival , Varna, Bulgaria. Scott Yoell, originally from Windsor, Ontario now lives in Waimea, Hawaii. Jane Szabo: Family Matters Merging her love for fabrication and materials with conceptual photography, Jane Szabo investigates issues of self and identity in her latest body of work, Family Matters. Szabo uses still life as a vehicle to share stories from her life. The objects photographed, isolated on a black field, provoke thoughts about home, displacement and sentimentality. Family Matters incorporates memory, metaphor and allegory to express the challenges, anxieties and joys as Szabo’s role as a daughter and her parents’ caretaker. This series uses objects from their family home, mementos from her childhood, to illustrate the story of their relationship. Using these childhood possessions and simple items that have been in their family for years, she creates tableaus that hint at complicated family dynamics. The presentation of these objects is not merely a catalog of possessions, but a catalog of feelings; of pain and disappointment, loss, burden and hope. Jane Szabo is a multi-disciplinary visual artist who earned an MFA from Art Center College of Design in Pasadena, California. Her background in the film industry, creating prop and miniatures for theme parks, and overseeing set construction for film and television undoubtedly informs her creative process. Szabo’s photographs have been featured in many publications including Huffington Post , Lenscratch , Bokeh Bokeh , L’Oeil de la Photographie , F-Stop Magazine , Diversions LA and ArtsMeme among others. Her work has been included in exhibitions at Oceanside Museum of Art, the Griffin Museum of Photography, The Colorado Center for Photographic Arts, San Diego Art Institute, Los Angeles Center for Photography, Orange County Center for Contemporary Art, Gallery 825 in Los Angeles, and the 2015 Kaohsiung International Photographer Exhibition in Taiwan. February 10 - April 22, 2018 Back to list

4th Floor Mural Custom Aerospace Mural Curated by the Lancaster Museum of Art & History 1/1 1 - McDonnell F-21 Voodoo, a USAF supersonic jet fighter Photographic Print 2012.999.70 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 2 - SpaceShipOne Photographic Print 2020.FIC.05.02 MOAH Digital Collection Gift of Edwards Air Force Base (AFFTC-HO) SpaceShipOne is an experimental air-launched, rocket-powered aircraft manufactured by Scaled Composites that has a hybrid rocket motor allowing it to be capable of sub-orbital spaceflight. 3 - USAF test pilot Robert A. (“Bob”) Hoover with XFJ-2, 1951 Photographic Print 2012.999.71 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 4 - Corwin "Corky" Meyer, a Grumman Test Pilot Photographic Print 2012.999.72 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 5 - Research pilot John Manke with an X-24B Lifting Body, 1975. Photographic Print 2012.999.73 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) John served as Chief of Flight Operations, and as site manager NASA's Flight Research Center, later the Dryden Flight Research Center, at Edwards, CA. 6 - William J. "Pete" Knight sitting in an X-15 Photographic Print 2012.999.55.03 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 7 - B-52 Stratofortress, c. 1960 Photographic Print 2012.999.56.01 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) The Boeing B-52 Stratofortress is an American long-range, subsonic, jet-powered strategic bomber. The B-52 was designed and built by Boeing, which has continued to provide support and upgrades. It has been operated by the United States Air Force since the 1950s. 8 - McDonnell F-21 Voodoo, a USAF supersonic jet fighter Photographic Print 2012.999.70 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) 9 - Anthony "Tony" LeVier posing on a Lockheed Starfighter, c. 1960s Photographic Print 2012.999.66.02 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO) Tony LeVier's test flying was instrumental in proving the Lockheed P-38 Lightning design. He and chief engineering test pilot Milo Burcham alternated flying dive tests to observe the design's performance at transonic speeds. To demonstrate the reliability of the design in the hands of a skilled pilot, he performed aerobatic shows for students at the Polaris Flight school at War Eagle Field in nearby Lancaster. 10 - Space Shuttle Columbia Photographic Print 2012.999.37.03 MOAH Permanent Collection Gift of Edwards Air Force Base (AFFTC-HO)