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| Frans Zwartjes Rehearsal 1973 gelatin silver print Kunstmuseum, The Hague |
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| Andy Warhol Mao 1973 screenprint and acrylic paint Weatherspoon Art Museum, Greensboro, North Carolina |
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| Julian Trevelyan Athletes 1973 etching and aquatint Fralin Museum of Art, Charlottesville, Virginia |
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| George A. Tice Interior, W. Milton Avenue, Rahway, NJ 1973 gelatin silver print Dallas Museum of Art |
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| Hans Krondahl for Katja of Sweden Pacific 1973 screen-printed cotton fabric panel Art Institute of Chicago |
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| James Strombotne Herman Hesse 1973 oil on canvas Wichita Art Museum, Kansas |
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| Frank Stella Rozdol II 1973 felt, canvas, paint and cardboard on wood Los Angeles County Museum of Art |
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| Larry Rivers Untitled 1973 screenprint and lithograph Wichita Art Museum, Kansas |
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| Bridget Riley Study for Painting 1973 gouache on paper Lowe Art Museum, University of Miami |
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| Clayton Pond The Other Chair 1973 lithograph New Britain Museum of American Art, Connecticut |
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| David Plowden La Crosse, Wisconsin 1973 gelatin silver print Art Institute of Chicago |
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| Kenneth Noland Untitled 1973 screenprint Wichita Art Museum, Kansas |
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| Louise Nevelson Untitled 1973 screenprint Wichita Art Museum, Kansas |
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| Lowell Nesbitt Grey Shoes 1973 oil on canvas Fralin Museum of Art, Charlottesville, Virginia |
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| Alice Neel Dorothy Pearlstein 1973 drawing Art Institute of Chicago |
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| Robert Motherwell Suchard on Orange #5 1973 acrylic paint and collage on board McNay Art Museum, San Antonio, Texas |
The Epigoni
No use invoking Apollo in a case like theirs;
The pleasure-loving gods had died in their chairs
And would not get up again, one of them, ever,
Though guttural tribes had crossed the Great River,
Roasting their dead and with no name for the yew;
No good expecting long-legged ancestors to
Return with long swords from pelagic paradises
(They would be left to their own devices,
Supposing they had some); no point pretending
One didn't foresee the probable ending
As dog-food, or landless, submerged, a slave:
Meanwhile, how should a cultured gentleman behave?
It would have been an excusable failing
Had they broken out into womanish wailing
Or, dramatising their doom, held forth
In sonorous clap-trap about death;
To their credit, a reader will only perceive
That the language they loved was coming to grief,
Expiring in preposterous mechanical tricks,
Epanaleptics, rhopalics, anacyclic acrostics:
To their lasting honor, the stuff they wrote
Can safely be spanked in a scholar's foot-note,
Called shallow by a mechanised generation to whom
Haphazard oracular grunts are profound wisdom.
– W.H. Auden (1955)