CONRAD H. MALICOAT (1936–2014) was a sculptor who created both large- and small-scale works of wood, metal, brick, and stone. He also created works on paper, primarily with ink. On occasion, he produced “public” work seen in local restaurants, inns, external brickwork, and headstones. A Fellow at the Fine Arts Work Center from 1968-1970, Malicoat received the Massachusetts Cultural Council Award for his sculptural works and has four pieces in the permanent collection of the Hirshhorn Museum in Washington, D.C. For more than 20 years, he was a volunteer with the Provincetown fire department, Pumper No. Five, and he served on the Provincetown Conservation Commission and the Provincetown Conservation Trust as well as on the boards of the Provincetown Art Association and Museum, the Pilgrim Monument and Museum, and the Fine Arts Work Center. He was a devoted member of the Beachcombers Club, where he served as “Skipper.” Malicoat was born in Provincetown to Philip and Barbara Malicoat, both highly regarded artists and prominent figures in the local community. They raised Conrad and their daughter, Martha, in a household saturated with art and music, and instilled in them a love of nature and proud, do-it-yourself spirit. After graduating from Provincetown High School, Conrad attended Oberlin College in Oberlin, Ohio and graduated with a BA in Studio Art in 1957. After a year in Paris, he attended the Skowhegan School of Painting and Sculpture, where he met fellow artist Anne Lord. They married in 1960 and settled in Provincetown to forge a life dedicated to family, community, and the arts. During his early years, Conrad worked primarily in stone, a medium he regarded with respect and affection throughout his life. As responsibilities to his young family necessitated more income than was generated by his stonework, he devised a new means to earn a living: From the mid-1970s through the mid-1990s creative brickwork rendered as imaginative walls, fireplaces, and sculpture became his signature oeuvre on the Outer Cape. “Have trowel, will travel,” he stated on his ‘Brick Breakthroughs’ business card. Initiated in necessity, the brickwork evolved as modular expression, an exploration of weight, planes, gravity, and multiple dimensions. In the midst of two decades of brickwork, Conrad explored mathematical themes such as the Mobius in wooden and metal sculptures, and in the two-dimensional realm he delved deeply into the works in ink on paper that you see at the Schoolhouse Gallery today. The abstract, brick-like, and figurative drawings include studies for some of his sculptures from the 1980s.​