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This article focuses on developments in the field of art. Henry W. Poore's book "The Conception of Art" is, as the title suggests, intellectualistic in tendency. The idea of a special æsthetic sense Poore scouts. To commemorate its loan exhibition of fine color-prints in May 1911, the Japan Society of New York has published a carefully illustrated catalogue, prefaced by the lecture delivered by Frederick William Gookin at the opening of the exhibition. Gookin managed to pack a remarkable amount of information within the compass of a public lecture. His paper measures up very well with such compact manuals as Strange's.

The article reviews the photography exhibition "Photography into Sculpture," at Museum of Modern Art, New York City.

The article reviews the exhibition of the more than 200 best works by photographer Eugene Atget at the New School for Social Research in Manhattan, New York City in January 1952.

The article reviews the fourth exhibition of the Photography in the Fine Arts series at the Metropolitan Museum of Art in New York in Summer 1963 organized by painter and printmaker Ivan Dmitri.

Reviews the art exhibition "19th National Exhibition of Prints" organized at the Library of Congress, Washington D.C.

The article discusses about shows of the U.S. Photographer, Alfred Stieglitz. His objective was triumphantly achieved by the show of 127 Stieglitz photographs until recently on the light walls of an American place. It was the aim of the youthful photographer to demonstrate the parity, at the very least, of his means with all sacrosanct aesthetic means; to exhibit its special, pertinent, and perhaps unlimited capacities as a medium of pure expression. Previous shows of Stieglitz's photography had proved that in his hands, and perhaps in his alone, the straight photographic medium was as capable of creating, out of the welter of characteristics present to the dead eye of the camera, forms as complete, self-declarative, and living as those accessible to pencil or chisel or brush.