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| Lisa Zwerling Mannequin, Pre-Columbian Figure, and Drapery 1990 oil on canvas Fralin Museum of Art, Charlottesville, Virginia |
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| Lawrence Weiner Chains Wrapped Around One Thing & Another 1990 vinyl text panels (variable installation) Art Gallery of Ontario, Toronto |
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| Joanne Tod When Imperative is Conditional 1990 oil on canvas Museum London, Ontario |
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| Alice Aycock Miami Proposal II (steel, concrete, water) 1990 screenprint Madison Museum of Contemporary Art, Wisconsin |
-William-jumping-the-Gate-1990-etching-National-Gallery-of-Australia-Canberra.jpg) |
| William Robinson William Jumping the Gate 1990 etching National Gallery of Australia, Canberra |
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| Orest Semchishen Two Immigrant Polish Priests, Lac Ste. Anne, Alberta 1990 gelatin silver print National Gallery of Canada, Ottawa |
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| Lorraine Gilbert Josée and Carole, Invermere, British Columbia 1990 C-print National Gallery of Canada, Ottawa |
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| Jeff Atkinson Piazza del Duomo, Milano 1990 gelatin silver print National Gallery of Australia, Canberra |
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| Jeff Atkinson Camera on the Acropolis, Athens 1990 gelatin silver print National Gallery of Australia, Canberra |
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| David Spear Neugents on the Porch 1990 gelatin silver print North Carolina Museum of Art, Raleigh |
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| Robert Nelson Markle Untitled (Table Dancer) 1990 acrylic and ink on canvas Art Gallery of Ontario, Toronto |
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| Sandow Birk Guard Tower, Sing-Sing Correctional Facility, Ossining NY 1990 acrylic and oil on canvas New Britain Museum of American Art, Connecticut |
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| Sharon Thompson Heaven and Earth move with Devotion 1990 oil on canvas Agnes Etherington Art Centre, Kingston, Ontario |
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| Milan Todd Galahs 1990 screenprint National Gallery of Australia, Canberra |
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| Yvan Adam L'Homme de Rêve 1990 screenprint (poster for Canadian Film Board) Musée National des Beaux-Arts du Québec |
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| Robert Foster Yellow Pitcher 1990 anodised aluminum Art Gallery of South Australia, Adelaide |
A.E. Housman
No one, not even Cambridge, was to blame
(Blame if you like the human situation):
Heart-injured in North London, he became
(Blame if you like the human situation):
Heart-injured in North London, he became
The Latin Scholar of his generation.
Deliberately he chose the dry-as-dust,
Kept tears like dirty postcards in a drawer;
Kept tears like dirty postcards in a drawer;
Food was his public love, his private lust
Something to do with violence and the poor.
Something to do with violence and the poor.
In savage foot-notes on unjust editions
He timidly attacked the life he led,
And put the money of his feelings on
The uncritical relations of the dead,
Where only geographical divisions
Parted the coarse hanged soldier from the don.
And put the money of his feelings on
The uncritical relations of the dead,
Where only geographical divisions
Parted the coarse hanged soldier from the don.
– W.H. Auden (1938)