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| Lawrence Schiller Walt Disney, Anaheim, California 1964 C-print Orange County Museum of Art, Costa Mesa, California |
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| Garry Winogrand American Legion Convention, Dallas, Texas 1964 gelatin silver print Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Wolfgang Sievers Double-Gob Glass-Forming Machine 1964 C-print National Gallery of Australia, Canberra |
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| Ben Talbert Ubu Roi at Coronet Theatre, Los Angeles (a play by the famous Alfred Jarry) 1964 offset print (poster) San Jose Museum of Art, California |
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| Robert von Sternberg Palisades Park, Santa Monica 1964 gelatin silver print, rendered later as inkjet print Orange County Museum of Art, Costa Mesa, California |
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| Barbara Kasten Untitled 1964 cyanotype Art Institute of Chicago |
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| William Christenberry 31-cent Gasoline Sign near Greensboro, Alabama 1964 C-print Art Institute of Chicago |
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| Leonard Baskin Bartleby (opera by Walter Aschaffenburg) 1964 lithograph (poster) Delaware Art Museum, Wilmington |
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| Louise Nevelson Tide Garden IV 1964 painted wood Arkansas Museum of Fine Arts, Little Rock |
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| Bea Maddock Head Study (The Apprentice) 1964 oil on canvas National Gallery of Australia, Canberra |
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| Arthur Boyd Ram and Bull Dancing 1964 pastel on paper National Gallery of Australia, Canberra |
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| Robert Rauschenberg Story 1964 mixed media on panel Art Gallery of Ontario, Toronto |
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| Joseph Francis Plaskett The Painter 1964 oil on canvas Art Gallery of Greater Victoria, British Columbia |
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| Pietro Sarto Rimbaud 1964 lithograph Cabinet d'Arts Graphiques des Musées d'Art et d'Histoire, Genève |
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| Clyde Seavey The Bright Vermilion Door 1964 acrylic on canvas Art Gallery of Greater Victoria, British Columbia |
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| Ossip Zadkine Lovers 1964 lithograph Art Gallery of Greater Victoria, British Columbia |
from In Memory of Sigmund Freud
Of course they called on God, but he went his way
down among the lost people like Dante, down
down among the lost people like Dante, down
to the stinking fosse where the injured
lead the ugly life of the rejected,
and showed us what evil is, not, as we thought,
deeds that must be punished, but our lack of faith,
our dishonest mood of denial,
the concupiscence of the oppressor.
If some traces of the autocratic pose,
the paternal strictness he distrusted, still
clung to his utterance and features,
it was a protective coloration
for one who'd lived among enemies so long:
if often he was wrong and, at times, absurd,
to us he is no more a person
now but a whole climate of opinion
under whom we conduct our different lives:
Like weather he can only hinder or help,
Like weather he can only hinder or help,
the proud can still be proud but find it
a little harder, the tyrant tries to
make do with him but doesn't care for him much:
he quietly surrounds all our habits of growth
and extends, till the tired in even
the remotest miserable duchy
have felt the change in their bones and are cheered,
till the child, unlucky in his little State,
some hearth where freedom is excluded,
a hive whose honey is fear and worry,
feels calmer now and somehow assured of escape,
while, as they lie in the grass of our neglect,
so many long-forgotten objects
revealed by his undiscouraged shining
are returned to us and made precious again;
games we had thought we must drop as we grew up,
little noises we dared not laugh at,
faces we made when no one was looking.
– W.H. Auden (1939)