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| David Samila Susan's Shoe 1968 screenprint Art Gallery of Greater Victoria, British Columbia |
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| James Rosenquist The Light That Won't Fail I 1961 oil on canvas Hirshhorn Museum, Washington DC |
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| Larry Zox Orange Time 1965 acrylic on canvas Tate Modern, London |
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| Larry Zox Cuban Eights 1965 acrylic on canvas Whitney Museum of American Art, New York |
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| Paul Wunderlich T.V. 1962 lithograph Hirshhorn Museum, Washington DC |
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| Paul Wunderlich Radierungen ca. 1963 lithograph Hirshhorn Museum, Washington DC |
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| Paul Wunderlich Nude and Angel 1967 lithograph Hirshhorn Museum, Washington DC |
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| Paul Wunderlich Madame est servie 1968 lithograph Hirshhorn Museum, Washington DC |
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| Paul Wunderlich Head ca. 1963 lithograph Hirshhorn Museum, Washington DC |
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| Paul Wunderlich Greenhead 1966 lithograph Hirshhorn Museum, Washington DC |
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| Frank Stella Rabat 1964 screenprint Smithsonian American Art Museum, Washington DC |
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| Frank Stella Harran II 1967 acrylic on canvas Guggenheim Museum, New York |
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| Gordon Smith Project for Arthur Erikson 1968 screenprint Museum London, Ontario |
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| Gordon Smith IV B 1968 lithograph Museum London, Ontario |
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| Jack Youngerman Around the Green 1967 acrylic on canvas Hirshhorn Museum, Washington DC |
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| Jack Youngerman City Center Joffrey Ballet 1968 lithograph (poster) Cooper Hewitt, Smithsonian Design Museum |
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| Jack Youngerman September White 1967 acrylic on canvas Hirshhorn Museum, Washington DC |
HIATUS – The juxtaposition of vowels either in the same word, or, more especially, at the end of one word and the beginning of the next. At different times, and in different languages, this has been regarded as a beauty and as a defect; but in English it entirely depends upon circumstances whether it is one, or the other, or neither. For a considerable period – roughly from 1650 to 1780, if not 1800 – it was supposed – without a shadow of reason – that English poets ought to elide one of such concurrents and indicate it only by apostrophe, so that not merely did "the enormous" become "th' enormous," and "to affect" "t' affect," but "violet" was crushed into "vi'let," and "diamond" into "di'mond." But this has been almost entirely abandoned, though there are still "metrical fictions" on the subject.
– George Saintsbury, from Historical Manual of English Prosody (1910)