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| Emilio Pucci Booties 1962 printed cotton Texas Fashion Collection, Denton |
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| Charles Swedlund Untitled 1962 C-print Art Institute of Chicago |
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| Margaret Keane Waiting 1962 oil on canvas Memphis Brooks Museum of Art, Tennessee |
Margaret Keane's work featuring "big-eyed" young women became famous and was widely reproduced in the early 1960s, but was always credited to her husband, Walter Keane.
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| Robert Patterson I Made It! 1962 tempera on board (magazine illustration) New Britain Museum of American Art, Connecticut |
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| Joseph Sterling Untitled 1962 gelatin silver print Art Institute of Chicago |
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| Jacques Villon Arthur Rimbaud 1962 etching and drypoint Blanton Museum of Art, Austin, Texas |
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| Paul Wonner Seven Views of the Model with Flowers 1962 oil on canvas McNay Art Museum, San Antonio, Texas |
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| Albert Johansson Study for Hero and Leander 1962 screenprint Moderna Museet, Stockholm |
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| William Kortlander Morning 1962 casein on board Huntington Museum of Art, Huntington, West Virginia |
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| William Mair An Endless Dream in Expanse 1962 oil on canvas Seattle Art Museum |
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| Asger Jorn Pauvre Poète 1962 oil on canvas NSU Art Museum, Fort Lauderdale, Florida |
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| Barnett Newman The Three 1962 oil on canvas Seattle Art Museum |
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| Isamu Noguchi The Life of a Cube 1962 granite Walker Art Center, Minneapolis |
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| Kenneth Price Grey and Yellow 1962 painted wood NSU Art Museum, Fort Lauderdale, Florida |
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| Andrew Wyeth Wood Stove 1962 watercolor on paper Farnsworth Art Museum, Rockland, Maine |
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| Marc Bohan for Dior Absinthe Dress 1962 silk surah Denver Art Museum |
from Horae Canonicae
IV. NONES (part II)
The Madonna with the green woodpecker,
The Madonna of the fig-tree,
The Madonna beside the yellow dam,
Turn their kind faces from us
And our projects under construction,
Look only in one direction,
Fix their gaze on our completed work:
Pile-driver, concrete-mixer,
Crane and pick-axe wait to be used again,
But how can we repeat this?
Outliving our act, we stand where we are,
As disregarded as some
Discarded artifacts of our own,
Like torn gloves, rusted kettles,
Abandoned branch-lines, worn lop-sided
Grindstones buried in nettles.
This mutilated flesh, our victim,
Explains too nakedly, too well,
The spell of the asparagus garden,
The aim of our chalk-pit game; stamps,
Birds' eggs are not the same, behind the wonder
Of tow-paths and sunken lanes,
Behind the rapture on the spiral stair,
We shall always now be aware
Of the deed into which they lead, under
The mock chase and mock capture,
The racing and tussling and splashing,
The panting and laughter,
Be listening for the cry and stillness
To follow after: wherever
The sun shines, brooks run, books are written,
There will also be this death.
– W.H. Auden (1950)