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| Alberto Giacometti Isaku Yanaihara 1956 oil on canvas Art Institute of Chicago |
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| Naum Gabo Study of Head ca. 1917-18 drawing Dallas Museum of-Art |
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| Bill Armstrong George Washington 2013 C-print New Britain Museum of American Art, Connecticut |
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| Lester Johnson Broadway Street Scene 1962 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Jean Dubuffet Portrait du soldat Lucien Geominne 1950 oil paint, pebbles and sand on panel Guggenheim Museum, New York |
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| Lotte Stam-Beese Self Portrait with Bauhaus Group ca. 1926-28 gelatin silver print (double exposure) National Gallery of Australia, Canberra |
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| Richard Hamilton Ghosts of Ufa 1994 lithograph Tate Modern, London |
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| Sybil Craig Medieval Woman ca. 1935 color linocut National Gallery of Australia, Canberra |
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| Victor Pasmore La Toilette ca. 1946 oil on canvas Art Gallery of New South Wales, Sydney |
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| Thomas La Farge Portrait Study ca. 1931 watercolor on paper Smithsonian American Art Museum, Washington DC |
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| John Hoppner Sleeping Boy before 1810 drawing British Museum |
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| Manuel Mathieu Portrait 2019 acrylic on canvas Musée National des Beaux-Arts du Québec |
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| Oscar de Wit Faces of Multatuli I ca. 1979-82 etching and aquatint Centraal Museum, Utrecht |
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| Marina Abramovic Light Side / Dark Side 2006 C-print Whitney Museum of American Art, New York |
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| Reynaldo Rivera Untitled 1986 gelatin silver print Whitney Museum of American Art, New York |
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| Anonymous Swedish Designer Magritte as Photographer and Film-Maker 1982 offset-lithograph (poster) Moderna Museet, Stockholm |
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| David Lance Goines McManis, Faulkner & Morgan Twenty-Fifth Anniversary 1996 offset-lithograph (poster) Smithsonian American Art Museum, Washington DC |
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| Weegee Charles Sodokoff and Arthur Webber use their Top-Hats to hide their Faces 1942 gelatin silver print Whitney Museum of American Art, New York |
from Dream (Escape from the Sculpture Museum) and Waking
Softening the marbles, day
Is dawning, which two elms vein.
Presently, slow as crochet,
White veils grow across the scene.
Now that my life has lost its way
I watch for it, through a cold pane
Out past all this eloquence
Inside: look, gesture, flowing raiment
Done in porphyry or jasper whence
One white arm, for a long moment
Raised to strike, relents
(Not to spoil one's enjoyment)
Back into stone, back into being
Hard, handsome to the fingertips,
With eyes that bulge unseeing
To call down an immaculate eclipse
Upon the world. It began snowing
Because of the statues, perhaps.
Or because for a long time now
I have wanted to be more natural
Than they, to issue forth anew
In a profusion inimitable
As it is chaste and quickly through.
White void, my heart grows full
With all you have undone!
Starwise, from coldest heights, a gong
Of silence strikes end of an eon,
Reverberates keen and strong
Until a far veil lifts. . . .
– James Merrill (1959)