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The article presents the life of Sarah Newmeyer as a press agent in the fifth floor of the Museum of Modern Art in New York. The museum's exhibitions included the finest collection of Italian masterpieces. Newmeyer stopped a publicity in a big show of the paintings of Salvador Dali. The author believes that as long as Sally is in the museum, it will continue to make the papers.

The article discusses several places for new artists to demonstrate their art works. It describes New York as a city where several art galleries can be found and the founding of the Art Dealers' Association of America by 14 uptown Madison Avenue galleries which launched a New Talent Festival. The restoration of the Museum of Modern Art of New Talent exhibitions is also mentioned which showcase talents of unknown artists as well as the Whitney Museum's biennial display of American arts.

The article presents information on two contemporary masterpieces of architecture: the Munson Williams Phillips Institute of Utica, New York, and the Museum of Western Art, in Fort Worth, Texas. It rarely happens that an exemplary monument, as distinct from negotiable Shelter space, is erected in this country. Utica and Fort Worth are not large cities, but they will become focal points for art lovers of international curiosity, since each now contains one of the fine buildings of this century. An unusual set of circumstances led to the creation of the structure in Utica: an estate accumulated by three families with an enlightened policy of benefaction.

Reviews the art exhibition "American Geometric Abstraction of the 1930s," organized by Manhattan, New York City-based Virginia Zabriskie Gallery.

Presents information on artist John Marin's show at the art gallery An American Place, in New York City. Arrangements made in the gallery to receive light; Interior decoration of the gallery; Information on a show of Marin watercolors held at the gallery; Characteristics of traditional watercolor technique used by Marin; Mixture of watercolored washes displayed on the walls of the gallery; Combinations of color used by Marin in his artistic works; Influence of watercolor on the American life; Quality of Marin's show at the gallery.

Presents various letters to the editor on articles and topics discussed in previous issues and on various political and social developments in New York City. Demonstrations of the White Guard émigrés in New York City against the recognition of the Soviet Union by the U.S.; Conduction of a one-man show in honor of painter Edward Hopper by the Museum of Modern Art in New York City; Expectations from the writer of the article "We Do Our Part" that she would visit and write an article about the women who in these distressing times are bending every energy to do their part and keep their homes and their children together.

A review is offered for the Frick Collection art museum located in New York.

Focuses on a controversy involving New York's Metropolitan Museum of Art. Information that the controversy is about the exhibition "Harlem on My Mind," a multimedia hodge-podge purporting, in the words of its creator, Allon Schoener, to document the struggle to establish an urban black culture in the midst of the twentieth-century industrial society; Question as to whether such a project has any place in an institution primarily devoted to the preservation and exhibition of works of art?; Charge by Negroes that the exhibition represents a "white man's image" of Harlem--as if the skin color of the exhibition's creators rather than the veracity and value of what they have done were at stake; Claim that the show itself fails to achieve its aim, namely, to present a documentary history of Harlem.

The article presents a speech by Macbeth Galleries President Robert G. McIntyre delivered at the Museum of Modern Art in New York in 1941 during a symposium titled "The Recent Popularization of American Art." McIntyre identified several artists who made notable contributions to the art industry including Thomas Doughty, Thomas Cole and F. E. Church. He also talked about a gallery that was launched by his uncle and artist William Macbeth.

Reviews the exhibition of the work of architect Frank Lloyd Wright at the Museum of Modern Art in New York City. Information on the theme of Wright's models which are being exhibited at the exhibition; Information on the model "Broadacre City"; Description of his home in Wisconsin called Taliesin; Information on Wright's tenure at the Johnson Wax Co.

Presents information about the new building of Museum of Modern Art in New York City named as Whitney. Description of the architectural aspects of the building of the museum; Information about several items exhibited at the museum; Description of various sculptures showcased at the museum; Comparison of the building of the museum with that of the Phillips Gallery in Washington.

The article offers information on the show of Martha Jackson Gallery in Manhattan, New York City. It notes that the gallery has not thought for the title of its show. Moreover, it invites the press to name the art form for the show. It states that much of the art form was a bewildering jumble of horrors with features including tortured junk and bric-a-brac, flattened tin cans and old clothes, or simply an old chair with its innards ripped out.

The article discusses the various art museums in New York City. The largest museum is reportedly the Metropolitan Museum of Art which features art of the ancients to the paintings of contemporary masters. It is stated that the Solomon R. Guggenheim Museum is the most controversial museum in New York as the building is criticized as not conducive to viewing works of art. The building of the Museum of Modern Art surrounds a garden which displays sculpture and architectural exhibits.

The article offers the author's insights regarding various individuals. It says that George Platt has introduced the beautiful muslin window-shades in interior decoration. It mentions that the "Landscape Drawings" of George Harvey will be displayed at his exhibition-room at the old Apollo Gallery in Broadway in New York City. It adds that misters Walsh and Willis are the two special correspondents of the journal "National Intelligencer."