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| Neil Williams Marine Street 1963 acrylic on canvas Delaware Art Museum, Wilmington |
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| Ben Vautier Sculpture Vivante 1963 letterpress (exhibition poster) Walker Art Center, Minneapolis |
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| Maija Isola for Marimekko (Finland) Ananas 1963 screen-printed cotton fabric-panel Art Institute of Chicago |
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| William Ronald Akira 1963 acrylic on canvas Blanton Museum of Art, Austin, Texas |
-Parts-of-the-Face-1963-oil-on-canvas-New-Orleans-Museum-of-Art.jpg) |
| Larry Rivers Portrait of Sunny Norman: Parts of the Face 1963 oil on canvas New Orleans Museum of Art |
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| Martial Raysse Visage en Bleu 1963 photo-collage and acrylic paint on canvas Institut Valencià d'Art Modern |
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| Robert Rauschenberg Manuscript 1963 oil on canvas Seattle Art Museum |
-1963-gouache-on-board-New-Britain-Museum-of-American-Art-Connecticut.jpeg) |
| Howard Rackliffe Norse (Inland Water, Bucksport, Maine) 1963 gouache on board New Britain Museum of American Art, Connecticut |
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| Pablo Picasso The Flowered Hat 1963 linocut Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Pablo Picasso Painter and Model 1963 oil on canvas Pinakothek der Moderne, Munich |
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| John Pellew Metropolitan 1963 watercolor on paper New Britain Museum of American Art, Connecticut |
-Delaware-Art-Museum-Wilmington.jpeg) |
| Charles Cropper Parks Watersprite of the Brandywine 1963 bronze Delaware Art Museum, Wilmington |
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| Jules Olitski Wildcatter 1963 acrylic on canvas Bennington Museum, Vermont |
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| Beni Montresor Stage Design for opera The Last Savage 1963 watercolor on paper McNay Art Museum, San Antonio, Texas |
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| Knox Martin Phonograph Record 1963 oil enamel and wax on board Lowe Art Museum, University of Miami |
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| Sergio Larraín Boys in Valparaiso Chile 1963 gelatin silver print Art Institute of Chicago |
from Horae Canonicae
V. VESPERS (part I)
If the hill overlooking our city has always been known as Adam's
Grave, only at dusk can you see the recumbent giant, his head turned to
the west, his right arm resting for ever on Eve's haunch,
can you learn, from the way he looks up at the scandalous pair, what a
citizen really thinks of his citizenship,
just as now you can hear in a drunkard's caterwaul his rebel sorrows
crying for a parental discipline, in lustful eyes perceive a disconsolate
soul,
scanning with desperation all passing limbs for some vestige of her
faceless angel who in that long ago when wishing was a help mounted her
once and vanished:
For Sun and Moon supply their conforming masks, but in this hour of
civil twilight all must wear their own faces.
And it is now that our two paths cross.
Both simultaneously recognize his Anti-type: that I am an Arcadian,
that he is a Utopian.
He notes, with contempt, my Aquarian belly: I note, with alarm, his
Scorpion's mouth.
He would like to see me cleaning latrines: I would like to see him re-
moved to some other planet.
Neither speaks. What experience could we possibly share?
Glancing at a lampshade in a store window, I observe it is too hideous
for anyone in their senses to buy. He observes it is too expensive for a
peasant to buy.
Passing a slum child with rickets, I look the other way: He looks the
other way if he passes a chubby one.
I hope our senators will behave like saints, provided they don't reform
me: He hopes they will behave like baritoni cattivi, and, when lights burn
late in the Citadel,
I (who have never seen the inside of a police station) am shocked and
think, "Were the city as free as they say, after sundown all her bureaus
would be huge black stones."
He (who has been beaten up several times) is not shocked at all but
thinks, "One fine night our boys will be working up there."
– W.H. Auden (1950)