Completed soon after Ida O'Keeffe arrived in San Antonio to teach, this work retains the subdued palette used in her Missouri landscapes. In addition, both paintings convey a mood of wonderment and wistfulness. Her sue of the frame to extend the composition achieves a witty visual conceit.

The earliest Jomon wares were simple pots with pointed bases and plain round rims. As this example shows, by the middle of the Jomon period, pots were given flat bases and fanciful rim decoration.

Jim Hodges's art references ideas of traditional beauty and intense emotion. Drawing on commonly understood symbols, objects, and formats, Hodges expresses a spirit of human interconnectedness and interdependency in works that are richly metaphorical.

In this photograph, part of the celebrated Untitled Film Stills series of black-and-white photographs Cindy Sherman created in the late 1970s, a pathetic female figure is seen cowering

Chinese potters were producing porcelain vessels centuries before their European counterparts, who did not learn how to make it until 1708. Subsequently, it remained an expensive luxury in Europe during the succeeding decades. 

Chinese export porcelain was a particular interest of Wendy Reves. While Emery Reves was supportive of his wife's efforts, it was she who built this part of their collection. The inspiration to collect porcelain came from the New York philanthropist Mary Lasker. Emery Reves knew her husband, Albert Lasker, through their mutual involvement in postwar humanitarian projects on behalf of displaced Jewish refugees, and the couples often saw each other in New York and Europe.

Composed of stenciled letters broken arbitrarily, Christopher Wool's

As the title suggests, these restless minds mimics the frenzied activity of a typical American mind.