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| Oscar Bluemner House and Tree 1917 oil on board Whitney Museum of American Art, New York |
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| Ora Coltman Provincetown ca. 1920-30 oil on board Akron Art Museum, Ohio |
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| Virginia Bill The News Building, New York ca. 1930 color woodblock print Memphis Brooks Museum of Art, Tennessee |
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| Anonymous Photographer Ayer & Son Building, Philadelphia Architectural Relief of Office Workers in Ancient Dress ca. 1930 gelatin silver print National Museum of American History, Washington DC |
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| Julia Bristow Weston House 1937 watercolor on paper Chrysler Museum of Art, Norfolk, Virginia |
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| Frank Callcott The Voorlezers' House ca. 1950 screenprint Frye Art Museum, Seattle |
-Facade-1959-oil-on-canvas-Museum-London-Ontario.jpg) |
| Paul-Vanier Beaulieu Facade 1959 oil on canvas Museum London, Ontario |
-Store-Front-1964-painted-wood-textile-fabric-fluorescent-lights-Hirshhorn-Museum-Washington-DC.jpg) |
| Christo (Christo Javacheff) Store Front 1964 painted wood, textile fabric, fluorescent lights Hirshhorn Museum, Washington DC |
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| Roger Brown World's Tallest Disaster 1972 oil on canvas Smithsonian American Art Museum, Washington DC |
-New-Housing-Longmont-Colorado-1973-gelatin-silver-print-Smithsonian-American-Art-Museum-Washington-DC.jpg) |
| Robert Adams New Housing - Longmont, Colorado 1973 gelatin silver print Smithsonian American Art Museum, Washington DC |
-1977-hand-colored-offset-print-Cooper-Hewitit-Smithsonian-Design-Museum.jpg) |
| Ivan Chermayeff Carnegie Mansion Embellishment (Cooper Hewitt Museum building, New York) 1977 hand-colored offset-print Cooper Hewitt, Smithsonian Design Museum |
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| Jon Carsman Red Glory ca. 1978 screenprint Akron Art Museum, Ohio |
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| Roger Ballen Karoo House, Trompsburg 1984 inkjet print Hirshhorn Museum, Washington DC |
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| Bernd and Hilla Becher Framework Houses, Siegen District, Germany 1988 gelatin silver prints Guggenheim Museum, New York |
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| Oliver Boberg Passage 1999 C-print Guggenheim Museum, New York |
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| Wayne Barrar Interior Underground Office and Rail Access, Mount Isa 2005 pigment print National Gallery of Australia, Canberra |
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| James Casebere Sing-Sing II 2003-2005 C-print Phillips Collection, Washington DC |
from The First Nemeæn Ode of Pindar
How early has young Chromius begun
The Race of Virtue, and how swiftly run,
And born the noble Prize away,
Whilst other youths yet at the Barriere stay?
None but Alcides ere set earlier forth then He;
The God, his Fathers, Blood nought could restrain,
'Twas ripe at first, and did disdain
The slow advance of dull Humanitie,
The big-limm'ed Babe in his huge Cradle lay,
Too weighty to be rockt by Nurses hands,
Wrapt in purple swadling-bands.
When, Lo, by jealous Juno's fierce commands,
Two dreadful Serpents come
Rowling and hissing loud into the roome.
To the bold Babe they trace their bidden way,
Forth from their flaming eyes dread Lightnings went,
Their gaping Mouths did forked Tongues like Thunderbolts present.
Some of th' amazed Women dropt down dead
With fear, some wildely fled
About the room, some into corners crept,
Where silently they shook and wept.
All naked from her bed the passionate Mother lept
To save or perish with her Child,
She trembled, and she cry'ed, the mighty Infant smil'd.
The mighty Infant seem'd well pleas'ed
At his gay gilded foes,
And as their spotted necks up to the Cradle rose,
With his young warlike hands on both he seis'ed;
In vain they rag'd, in vain they hist,
In vain their armed Tails they twist,
And angry Circles cast about,
Black Blood, and fiery Breath, and poys'onous Soul he squeezes out.
– Pindar (518-446 BC), translated by Abraham Cowley (1656)