Winter 1947 • Vol. IX No. 1 Nonfiction |

Art Letter

Current comment stresses the diversity of the exhibition at the Museum of Modern Art.1 In this selection of fourteen American painters and sculptors one is struck by a variety of styles that ranges from pure abstraction to some kind of objective realism. One imagines that diversity as such was not in the mind of Dorothy Miller as she picked this exhibition, but that it resulted quite naturally when she made her choice from the stylistic tendencies now practiced among progressive American artists, and gave representation to each. This, at any rate, is what her foreword suggests, and certainly this is the impression with which one leaves the show, after having run the gamut of style from Rice Pereira to Honoré Sharrer, including on the way such a mystic as Tobey and such an expressionist as Alton Pickens. It is the useful purpose of the show to exhibit this panorama without bias; those who would ask the Museum to demonstrate preference are, precisely, asking for a different kind of s

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