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| Milton Avery Seaside Strollers 1963 oil on board North Carolina Museum of Art, Raleigh |
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| Edward Boccia Marriage of Pythoness 1963 oil on canvas Weatherspoon Art Museum, Greensboro, North Carolina |
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| Dan Budnik David Smith with Cubi IV and Cubi V, Terminal Iron Works, Bolton's Landing, NY 1963 gelatin silver print Portland Museum of Art, Maine |
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| Paul Caponigro Two Leaves, Brewster, New York 1963 gelatin silver print Delaware Art Museum, Wilmington |
-Jardin-dans-le-Soleil-d'%C3%A9t%C3%A9-1963-lithograph-NSU-Art-Museum-Fort-Lauderdale-Florida.jpg) |
| Corneille (Guillaume Cornelis van Beverloo) Jardin dans le soleil d'été 1963 lithograph NSU Art Museum, Fort Lauderdale, Florida |
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| Paul Damian Room with Banquet Lamp 1963 oil on paper (grisaille) Madison Museum of Contemporary Art, Wisconsin |
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| Paul Damian Room with French Chairs 1963 oil on paper (grisaille) Madison Museum of Contemporary Art, Wisconsin |
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| William Freed Still Life - Fruit and Bottle 1963 oil on canvas New Britain Museum of American Art, Connecticut |
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| Lee Friedlander New York City 1963 gelatin silver print North Carolina Museum of Art, Raleigh |
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| Philip Guston Painting 1963 oil on board New Orleans Museum of Art |
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| Bits Hayden Second Feature 1963 oil on panel Frye Art Museum, Seattle |
-1963-bronze-Nasher-Sculpture-Center-Dallas.jpg) |
| Barbara Hepworth Squares with Two Circles (Monolith) 1963 bronze Nasher Sculpture Center, Dallas |
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| Robert Indiana Four Numbers Summing Thirty 1963 oil on canvas McNay Art Museum, San Antonio, Texas |
-1963-oil-on-canvas-Nasher-Museum-of-Art-Durham-North-Carolina.jpeg) |
| Ivan Kabish To the Mausoleum (Red Square) 1963 oil on canvas Nasher Museum of Art, Durham, North Carolina |
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| André Kertész Two Friends, Jardin du Luxembourg, Paris 1963 gelatin silver print Art Institute of Chicago |
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| Sergio Larraín Bar in the House of Seven Mirrors, Valparaiso, Chile 1963 gelatin silver print Art Institute of Chicago |
from Horae Canonicae
IV. NONES (part III)
Soon cool tramontana will stir the leaves,
The shops will re-open at four,
The empty blue bus in the empty pink square
Fill up and depart: we have time
To misrepresent, excuse, deny,
Mythify, use this event
While, under a hotel bed, in prison,
Down wrong turnings, its meaning
Waits for our lives. Sooner than we would choose
Bread will melt, water will burn,
And the great quell begin, Abaddon
Set up his triple gallows
At our seven gates, far Belial make
Our wives waltz naked, meanwhile
It would be best to go home, if we have a home,
In any case good to rest.
That our dreaming wills may seem to escape
This dead calm, wander instead
On knife edges, on black and white squares,
Across moss, baize, velvet, boards,
Over cracks and hillocks, in mazes
Of string and penitent cones,
Down granite ramps and damp passages,
Through gates that will not relatch
And doors marked Private pursued by Moors
And watched by latent robbers,
To hostile villages at the heads of fjords,
To dark chateaux where wind sobs
In the pine-trees and telephones ring,
Inviting trouble, to a room,
Lit by one weak bulb, where our Double sits
Waiting and does not look up.
That, while we are thus away, our own wronged flesh
May work undisturbed, restoring
The order we try to destroy, the rhythm
We spoil out of spite: valves close
And open exactly, glands secrete,
Vessels contract and expand
At the right moment, essential fluids
Flow to renew exhausted cells,
Not knowing quite what has happened, but awed
By death like all the creatures
Now watching this spot, like the hawk looking down
Without blinking, the smug hens
Passing close by in their pecking order,
The bug whose view is balked by grass,
Or the deer who shyly from afar
Peer through chinks in the forest.
– W.H. Auden (1954)