There exists a large, diverse group of American artists whose cultural legacy is endangered because of factors of health, economics, race, gender or geography. There is not necessarily a shared value set between these artists but they all share the same needs in terms of preserving their work. The participants defined "excellence" factoring in issues of environment and history, considering the artist as important as their art. The participants considered "excellence" only one factor in the overall importance of the artist and their work. Factors such as environment make "excellence" a fluid term from community to community. AIDS has demonstrated that America faces many challenges in preserving anything but a "greatest hits" version of our culture. The participants' motivations for preservation of a diverse cultural legacy are historical, personal, artistic and political. Preservation itself can be defined as activism in this context. It is possible and necessary to form partnerships with major institutions to preserve and present the work of under-recognized artists. Interesting programming packaged in the right way, sometimes paired with a grant from the smaller organization to the larger, allows for work with institutions that might otherwise be inaccessible. Excellent methodology and model programs form a bridge to more powerful institutions. Targeted preservation efforts focused on small groups of artists can provide a model to an entire community. Preservation is not an easy addition to the missions of already marginalized institutions. Technology is not a panacea because of issues of access and economics but it can be a useful tool. Willingness to experiment with new technology can sometimes create mutually beneficial relationships between the cultural organization and corporate entities. A few leading institutions have created standards for use of digital technology that are not necessarily relevant to preservation in other communities. Artists do not want to be categorized. Yet these very categories can sometimes provide vital information. Oral histories are a proven and effective preservation strategy. Organizations concerned with preservation of marginalized communities must insist on being included at the cultural policy table. Effective models of response exist, both in the Estate Project and elsewhere. However, these models cannot be replicated systematically without the increased support of the American funding and cultural policy communities.   top