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| Pierre Alechinsky Le Réprimande 1960 gouache and ink on paper NSU Art Museum, Fort Lauderdale, Florida |
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| Karel Appel Child's Painting 1960 oil on canvas Portland Museum of Art, Maine |
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| Hans Arp Trois Formes 1960 color woodblock print Madison Museum of Contemporary Art, Wisconsin |
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| Max Benjamin Peninsula 1960 oil on canvas Tacoma Art Museum |
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| Isabel Bishop Study for Undressing in Bed 1960 oil and tempera on canvas Fralin Museum of Art, Charlottesville, Virginia |
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| Norman Bluhm Apollo's Arc 1960 oil on canvas Blanton Museum of Art, Austin, Texas |
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| Henry Botkin The City 1960 mixed media on board Madison Museum of Contemporary Art, Wisconsin |
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| John Button Sea and Clouds 1960 oil on canvas Portland Museum of Art, Maine |
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| Marc Chagall Regards sur Paris, La Place de La Concorde 1960 lithograph Clark Art Institute, Williamstown, Massachusetts |
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| Bruce Connor Crucifixion 1960 wax, nylon, cardboard, wood Menil Collection, Houston |
-Artificial-Landscape-1960-wood-metal-plastic-Kunstmuseum-The-Hague.jpg) |
| Constant (Constant Nieuwenhuys) Artificial Landscape 1960 wood, metal, plastic Kunstmuseum, The Hague |
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| Imogen Cunningham August Sander in his Home 1960 gelatin silver print Seattle Art Museum |
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| Bruce Davidson Millers & Montands 1960 gelatin silver print Dallas Museum of Art |
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| Richard Diebenkorn Girl Squatting 1960 oil on canvas Akron Art Museum, Ohio |
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| Sam Francis Blue in Motion II 1960 oil on canvas Blanton Museum of Art, Austin, Texas |
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| Philip Guston Alchemist 1960 oil on canvas Blanton Museum of Art, Austin, Texas |
from Horae Canonicae
III. SEXT
I
You need not see what someone is doing
to know if it is his vocation,
you have only to watch his eyes:
a cook mixing a sauce, a surgeon
making a primary incision,
a clerk completing a bill of lading,
wear the same rapt expression,
forgetting themselves in a function.
How beautiful it is,
that eye-on-the-object look.
To ignore the appetitive goddesses,
to desert the formidable shrines
of Rhea, Aphrodite, Demeter, Diana,
to pray instead to St Phocas,
St Barbara, San Saturnino,
or whoever one's patron is,
that one may be worthy of their mystery,
what a prodigious step to have taken.
There should be monuments, there should be odes,
to the nameless heroes who took it first,
to the first flaker of flints
who forgot his dinner,
the first collector of sea-shells
to remain celibate.
Where should we be but for them?
Feral still, un-housetrained, still
wandering through forests without
a consonant to our names,
slaves of Dame Kind, lacking
all notion of a city,
and, at this noon, for this death,
there would be no agents.
– W.H. Auden (1954)