My early thinking on W.E.B. Du Bois was one of respect and admiration for an African American freedom fighter whose excellence placed him in an international pantheon of human rights activists. This was the Du Bois of school reports and Black History programs. Du Bois’s prediction of struggle along the color line during the twentieth century seemed like a foregone conclusion, so accurately had it played out. The W.E.B. Du Bois that I personally make use of came gradually into view as I began to grasp the incredible creativity of his fertile mind. Du Bois possessed a mind so creative that in whatever situation or endeavor he placed himself, he was capable of taking in information and fashioning new and original thinking constructs — striking perspectives on history, sociology, culture, and art that others with the same information had not produced. William E.B. Du Bois’s assertion that one should be able to be African and American is simply good sense. Art is likewise particular and universal simultaneously. I too am “a co-worker in the kingdom of culture,” striving to create art that genuinely articulates my message to African Americans and the art world. Du Bois had definite points of view on art and its uses, proclaiming on one occasion, “I do not care a damn for any art that is not used for propaganda,” when he felt the Harlem Renaissance was veering off track. I share his value of art that is authentic and culturally excellent in its execution. I enjoy combining African and African American cultural motifs with modern art concerns in order to send messages to multiple recipients. I am using Rodin and Thomas Day as springboards for a statement about W.E.B. Du Bois. I think Du Bois would approve of the Republican Socialist leanings that inspired Rodin’s Thinker as well as the excellence of African American furniture craftsman Thomas Day.