Spring 2014 SELECTED CONTENT FROM THIS ISSUE AVAILABLE BELOW.

James Rosenquist, Big Bo, 1966, oil on shaped canvas, 7 ft. 8 in. x 65½ in. (233.7 x 166.4 cm). Musée d’Art Moderne et d’Art Contemporain, Nice, France (artwork © James Rosenquist/licensed by VAGA, New York, NY; photograph provided by the artist)
James Rosenquist, Big Bo, 1966, oil on shaped canvas, 7 ft. 8 in. x 65½ in. (233.7 x 166.4 cm). Musée d’Art Moderne et d’Art Contemporain, Nice, France (artwork © James Rosenquist/licensed by VAGA, New York, NY; photograph provided by the artist)
61-75
Melissa L. Mednicov

Pink, White, and Black: The Strange Case of James Rosenquist’s Big Bo

Nasreen Mohamedi, Untitled, ca. 1970, ink on paper, 19¼ x 27⅛ in. (49 x 69 cm). Glenbarra Art Museum, Japan (artwork © Estate of Nasreen Mohamedi/Talwar Gallery, New York; photograph provided by Glenbarra Art Museum)
Nasreen Mohamedi, Untitled, ca. 1970, ink on paper, 19¼ x 27⅛ in. (49 x 69 cm). Glenbarra Art Museum, Japan (artwork © Estate of Nasreen Mohamedi/Talwar Gallery, New York; photograph provided by Glenbarra Art Museum)
44-59
Emilia Terracciano

Fugitive Lines: Nasreen Mohamedi, 1960–75

Visitors with Barnett Newman’s The Wild (1950) at the Museum of Modern Art, 2010 (photograph by the author)
Visitors with Barnett Newman’s The Wild (1950) at the Museum of Modern Art, 2010 (photograph by the author)
30-43
Lisa Frye Ashe

On Barnett Newman’s The Wild