March, 1910, exhibition of the work of “Younger American Painters”: Arthur G. Dove, Arthur B. Carles, L. Fellows, Marsden Hartley, Putnam Brindley, John Marin, Alfred Maurer, Steichen, Max Weber. This was the first collective exhibition of Modern work by Americans. April, 1910, second Rodin Exhibition. The very latest drawings of Rodin were shown, together with eleven of his earliest ones. At the same time the best small bronze of the “Penseur” (loaned by Mrs. John W. Simpson) was exhibited. November, 1910, Exhibition of lithographs by Cézanne, Renoir, Manet, and Toulouse Lautrec. Together with these, drawings and paintings by Henri Rousseau, just deceased. This exhibition introduced Rousseau for the first time to America, as well as it introduced Cézanne. January, 1911, Exhibition by Max Weber, American. February, 1911, Marin Exhibition (third). March, 1911, a series of Cézanne water colors. The first one-man show of Cézanne’s in America. These water colors were most carefully selected and really represent a side of Cézanne which is underestimated by all those, even Cézanne lovers, who do not fully understand Cézanne’s importance. April, 1911, Picasso. Drawings, lithographs, water colors, etc. A series of eighty showing the complete evolution of Picasso. The first introduction of Picasso to America and the first exhibition anywhere of Picasso held in this sense. February, 1912, second Hartley exhibition. February, 1912, first Arthur G. Dove exhibition. March, 1912, sculptures and latest drawings by Matisse. First introduction to America of Matisse, the sculptor. April, 1912, Exhibition of Children’s Work, showing relationship of that to much of the spirit of so-called “Modern” work, first exhibition of its kind held in America. December, 1912, drawings and paintings by A. Walkowitz. January, 1913, fourth Marin Exhibition--the now famous New York skyscraper series were shown. March, 1913, Picabia’s New York work. The first one-man show of Picabia held in America. April, 1913, Exhibition of De Zaya’s abstract caricature. Possibly the most _modern_ expression of the human portrait. Incidentally, without having had official shows, the work of Eli Nadelmann (Paris) and Manolo, was introduced to America by examples of their work being shown. Outside of all these exhibitions, of course, must be added the exhibition of color-photography, first in America, in 1907, and numerous other exhibitions, of important photographic work. APPENDIX II TWO COMMENTS It is only fair to the press to say that here and there, in most unexpected places, not only articles but editorials appeared admonishing the public to be cautious about condemning the new art too impulsively. We have chosen two such expressions from places so different, as London, and Reno, Nevada. Apropos the Russian Ballet and its extraordinary music, the London “Times,” in a leading editorial, July 13, 1913, said: