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| Jo Sandman Serpent #6 1998 platinum palladium print Portland Museum of Art, Maine |
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| Jo Sandman Serpent #9 1998 platinum palladium print Portland Museum of Art, Maine |
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| John Bates Untitled 1998 felt pen and acrylic paint on paper National Gallery of Australia, Canberra |
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| Jean McEwen Fleuron soutenu de Jaune no. 4 1998 oil on canvas Musée National des Beaux-Arts du Québec |
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| Kim Moodie Pink 1998 oil and acrylic on canvas Museum London, Ontario |
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| Herménégilde Chiasson Fra Angelico 1998 acrylic on fabric Beaverbrook Art Gallery, Fredericton, New Brunswick |
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| Gerard Collins Full Moon, Shaw's Lake 1998 oil on board New Brunswick Museum, Saint John |
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| Howard Arkley Superb + Solid 1998 acrylic on canvas Art Gallery of New South Wales, Sydney |
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| Whiting Tennis Untitled 1998 oil on canvas Tacoma Art Museum, Washington State |
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| Robert Helm Where Birds Go at Night 1998 oil on panel Tacoma Art Museum, Washington State |
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| Tom Baril Calla Lily 1998 gelatin silver print from collodion negative Delaware Art Museum, Wilmington |
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| Judy Dater Maria Rosario Domenici 1998 gelatin silver print Norton Simon Museum, Pasadena, California |
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| Larry Fink Esther De Jong and Julia Schonberg Christian LaCroix Haute Couture 1998 gelatin silver print Beaverbrook Art Gallery, Fredericton, New Brunswick |
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| Jörg Schmeisser Thinking of Nara in Princeton 1998 color etching and aquatint National Gallery of Australia, Canberra |
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| Robert Schwartz Like a Pillow 1998 oil on panel San Jose Museum of Art, California |
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| Imants Tillers Sydney Two Thousand 1998 color woodblock print and linocut (Sydney Olympics poster) Art Gallery of New South Wales, Sydney |
from A Voyage
III. The Sphinx
Did it once issue from the carver's hand
Healthy? Even the earliest conqueror saw
The face of a sick ape, a bandaged paw,
An ailing lion crouched on dirty sand.
We gape, then go uneasily away:
It does not like the young nor love nor learning.
Time hurt it like a person: it lies turning
A vast behind on shrill America,
And witnesses. The huge hurt face accuses
And pardons nothing, least of all success:
What counsel it might offer it refuses
What counsel it might offer it refuses
To those who face akimbo its distress.
"Do people like me?" No. The slave amuses
The lion. "Am I to suffer always?" Yes.
The lion. "Am I to suffer always?" Yes.
– W.H. Auden (1938)