Event Calendar

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.

Jesse Howard (1885–1983) was known for the large environment of painted signs he created at his homestead in Fulton, MO, which he named Sorehead Hill. His signs bear traces of his varied life experiences, including interpretations of biblical verse, political commentary, and his low opinion of vandals who stole his signs. For this exhibition, writer/curator Matthew Higgs lends his creative expertise to a reconsideration of the Sorehead Hill art environment.