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| Ron Stark Still Life with Trout 1974 gelatin silver print Los Angeles County Museum of Art |
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| John Vong Lawn Chairs ca. 1974 gelatin silver print Minneapolis Institute of Art |
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| Neal Slavin Cemetery Workers Local 365 1974 C-print Los Angeles County Museum of Art |
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| Stephen Shore Kimball's Lane, Moody, Maine 1974 C-print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Stephen Shore Dewdney Avenue, Regina, Saskatchewan 1974 C-print Princeton University Art Museum |
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| Joan Liffring-Zug Bourret Nan Wood Graham (artist and sister of painter Grant Wood) 1975 gelatin silver print Minneapolis Institute of Art |
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| Carl Chiarenza Quarry NH7 1975 gelatin silver print Princeton University Art Museum |
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| Richard Avedon John Szarkowski, Curator, New York City 1975 gelatin silver print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Lynne Cohen Banquet Room 1975 gelatin silver print Tate Gallery |
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| Larry Clark Oklahoma City 1975 gelatin silver print Los Angeles County Museum of Art |
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| Jim Dow Concrete Arch in Field US 301, Ellenton, Florida 1975 gelatin silver print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Jim Dow Concrete Dinosaur from Rear US 60, I 10, Cabazon 1975 gelatin silver print Art Institute of Chicago |
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| Jim Dow Laundry Sign US 20/30, East Chicago, Indiana 1975 gelatin silver print Art Institute of Chicago |
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| Jim Dow Monument of Cannonballs, Shiloh Battlefield TN 22 near Shiloh, Tennessee 1975 gelatin silver print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Jim Dow Pile of Mufflers at Muffler City NY 5A, Utica, New York 1975 gelatin silver print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| William Eggleston Photobooth Self Portrait, Memphis 1975 gelatin silver print Los Angeles County Museum of Art |
Two geisha were leaning against the balustrade, enjoying the river breeze. One was wearing a silk kimono with a small design scattered with cherry petals and a Nagoya cherry-pattern obi in black. It was most probably hand-painted. She was tiny with a round face. The other exhibited a taste for color in her choice of clothing. A cold smile played on her face from the bridge of her nose, which was slightly too high, down to her thin lips. The two kept up an incessant chatter, punctuated by exaggerated exclamations. Two curls of smoke mounted from their cigarettes – imported brands with gold tips – which they held between fingers that never fluttered in surprise.
Honda soon realized that they were surreptitiously looking at the opposite bank. The former Imperial Japanese Naval Hospital with its statue of some erstwhile admiral still on display had now been turned into an American military hospital and was filled with soldiers wounded in the Korean War. The spring sun gleamed on the half-open cherry blossoms in the front garden, under which young soldiers were being pushed in wheelchairs. Some walked with the aid of crutches, while others strolled about with only their ams in pure white slings. No voices called from across the river to the two exquisitely dressed young women, nor was there the sound of cheerful American whistles. Like a scene from another world, the opposite bank bathed in brilliant sunshine was completely quiet, manned as it was by the forms of mained young soldiers purposely pretending nonchalance.
The two geisha obviously enjoyed the contrast. Covered in white powder and silk, indulging in spring idleness and extravagant living, they feasted on the spectacle of those who only yesterday had been the proud victors with their injuries, pain, dismembered arms and legs. Such subtle malice and exquisite viciousness were their specialty.
– Yukio Mishima, The Temple of Dawn, translated by E. Dale Saunders and Cecilia Segawa Seigle (Knopf, 1973)