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| Seth Tobocman Why Are Apartments Expensive? 1986 screenprint (poster) Cooper Hewitt, Smithsonian Design Museum |
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| Carlos Cortez The Gilded Age Chicago during the Reign of Money 1992 linocut (exhibition poster) Smithsonian American Art Museum, Washington DC |
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| Stanislaw Zagorski Is Capitalism Working? 1980 tempera on board (commissioned by Time magazine) National Portrait Gallery, Washington DC |
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| Peter Young Capitalist Masterpiece Number 19 1969 acrylic on canvas Whitney Museum of American Art, New York |
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| Larry Clark Homeless in America 1990 pastel and ink on paper (commissioned by Time magazine) National Portrait Gallery, Washington DC |
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| Clayton Pond The Working End of My Gas Space-Heater (from the portfolio, Bicentennial Prints) 1975 lithograph Cooper Hewitt, Smithsonian Design Museum |
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| William Heath Robinson How To Dispense With Servants In The Dining-Room 1921 ink and watercolor on paper (illustration for The Sketch) British Museum |
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| Wanda Gág The Forge 1932 lithograph Smithsonian American Art Museum, Washington DC |
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| Ford Madox Brown Study of Arm 1861 drawing (study for the painting, Work) British Museum |
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| Sam Contis Hold-Down 2014 gelatin silver print Whitney Museum of American Art, New York |
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| Alexander Henderson Locomotive and Snowplow at work ca. 1870 albumen silver print National Gallery of Canada, Ottawa |
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| Filippo Napoletano (Filippo Angeli) Transport of an Obelisk by Sea on a Raft with Sail ca. 1615-25 drawing British Museum |
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| Charles Parrocel Sailors pulling Boat ca. 1727-30 drawing (print study) British Museum |
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| Joseph Koch Circus Day ca. 1948 oil on board Akron Art Museum, Ohio |
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| Saul Leiter Shoe of the Shoeshine Boy ca. 1950 gelatin silver print Whitney Museum of American Art, New York |
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| Eugène-Louis Lami Footmen outside a Bond Street Shop (series, Voyage en Angleterre) 1829 hand-colored lithograph British Museum |
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| Abraham Bloemaert Crippled Beggar before 1651 drawing (print study) British Museum |
"Everything that ever gets done in this world is done by madmen," Mr. Scogan went on. Denis tried not to listen, but the tireless insistence of Mr. Scogan's discourse gradually compelled his attention. "Men such as I am, such as you may possibly become, have never achieved anything. We're too sane; we're merely reasonable. We lack the human touch, the compelling enthusiastic mania. People are quite ready to listen to the philosophers for a little amusement, just as they would listen to a fiddler or a mountebank. But as to acting on the advice of the men of reason – never. Wherever the choice has had to be made between the man of reason and the madman, the world has unhesitatingly followed the madman. For the madman appeals to what is fundamental, to passion and the instincts; the philosophers to what is superficial and supererogatory – reason."
They entered the garden; at the head of one of the alleys stood a green wooden bench, embayed in the midst of a fragrant continent of lavender bushes. It was here, though the place was shadeless and one breathed hot, dry perfume instead of air – it was here that Mr. Scogan elected to sit. He thrived on untempered sunlight.
"Consider, for example, the case of Luther and Erasmus." He took out his pipe and began to fill it as he talked. "There was Erasmus, a man of reason if ever there was one. People listened to him at first – a new virtuoso performing on that elegant and resourceful instrument, the intellect; they even admired and venerated him. But did he move them to behave as he wanted them to behave – reasonably, decently, or at least a little less porkishly than usual? He did not. And then Luther appears, violent, passionate, a madman insanely convinced about matters in which there can be no conviction. He shouted, and men rushed to follow him. Erasmus was no longer listened to; he was reviled for his reasonableness. Luther was serious, Luther was reality – like the Great War. Erasmus was only reason and decency; he lacked the power, being a sage, to move men to action. Europe followed Luther and embarked on a century and a half of war and bloody persecution."
– Aldous Huxley, from Crome Yellow (1921)