But I am getting away from the exhibition. It has become the fashion to be disappointed with exhibitions both here and abroad—and with good reason. As there are few good artists, the chances of getting them on a jury is slight. The result is apparent: good pieces of craftsmanship are hung along with fine pieces of art, and the prizes intended for fine art go to good craftsmanship. In saying this I do not wish to join the popular sport of hitting the jury and getting a round of applause. But how can one escape these conclusions if he compares the prize-winner, _A Nude_, by Richard E. Miller, with “_Under the Bough_,” by Arthur B. Davis, whose rhythmically-moving figures and beautiful colors transport one to fairyland? The figures remind me of Hodler, the foremost painter today in Switzerland, who is sixty years old and younger than the youngest. Or compare the prize with _Thomas and his Red Coat_, by Robert Henri. What simple forms and colors—what a thorough understanding of a child and his world! Or _The Widow_, by Charles W. Hawthorne. These are works of great simplicity, understanding, imagination, and individuality; they are monuments to some fine feeling, dream, thought, or incident in the life of their creators. As for the other prize winners—the disjointed color spots serving as garden flowers and the chocolate box cover-design—I shall not discuss them. The meaning of such stuff and the reason for awarding is too obscure. Outside the pictures mentioned above the following are worth seeing: _The Venetian Blind_, by Frederic C. Frieseke; _Dance of the Hours_, by Louis F. Berneker; _Winter Logging_, by George Elmer Brown; _Through the Trees_, by Frank T. Hutchins; _The Harbor_, by Jonas Lie; _The Garden_, by Jerome S. Blum; _Procession of the Redentore Venice_, by Grace Ravlin; _The Ox Team_, by Chauncey F. Ryder; _Smeaton’s Quay, St. Ive’s_, by Hayley Lever; _The Fledgling_, by Grace H. Turnbull. _A Hudson River Holiday_, by Gifford Beal, looks much like a department store. In fact you may find everything in this exhibition from a flag to a mountain—and all the popular colors. The only thing that is missing is a “For Sale” sign, with a “marked-down” price. Seven pieces of sculpture by Stanislaw Szukalski, whose work the readers of THE LITTLE REVIEW had a chance to see reproduced in the last number, make up the most interesting part of the exhibition.