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A striking example in this exhibition is a long, almost surfboard shape (collected in 1912) from the Orokolo people of the Western Elema area.
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An example in the exhibition is identified as "Coffin of the Lady of the House, Weretwahset, Reinscribed for Bensuipet" (from about 1292 to 1190 B.C).
The only example in the exhibition itself is a multipart compilation of the three-minute head-shot "screens tests" that he made of visitors to the Factory, many of which are erotic but none of which are explicitly sexual).
For example, in the exhibition's prologue, where we see Léger formulating his personal fusion of Cubism and Futurism in the years leading up to the war, don't miss Mondrian's "Composition No. VI, Compositie 9 (Blue Facade)," an implied still life/building that seems partly composed of beakers of blue sky.
There is a fine early example in the exhibition showing a kneeling, near-naked Barbarian with his hands tied behind his back.The Romans decided that assimilation was the best form of defence, and many of the exhibits illuminate the lengths to which Roman bureaucrats and soldiers went to absorb foreigners into the machinery of empire.
"POLAROIDS: MAPPLETHORPE," which opened on Saturday at the Whitney Museum of American Art, presents about 100 examples in this first exhibition devoted to these works.
One of the finest examples in the exhibition belonged to the future Holy Roman Emperor, Maximilian II.
In the hands of the brothers Lorenzo and Cristoforo Canozi da Lendinara and Pierantonio degli Abbati, the skillful manipulation of perspective and stylized arrangement of the buildings lend them a startling modern look, as can be seen in four examples in the exhibition from Padua and Lucca.
The Wall of Friends, including the two examples in the exhibition: Pallas (2011) and Tony (2011), is another extremely effective use of mixed media which here incorporates the more graphic elements of collage and linocut combined with his now familiar application of ornamentation.
On that continuum, Mr. Harms sits pretty close to de Kooning, whose example is everywhere apparent in this exhibition.
De Leeuw also commissioned designs for furniture from Gerrit Rietveld and for textiles and rugs from Bart van der Leck, examples of which are included in this exhibition.
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