![]() ![]() ![]() ![]() Recent scholarship has productively disputed the older narrative of the Armory Show as the signal event introducing modernism to an unprepared America. Changes in institutions, exhibitions, and transatlantic networks created a complex map of insiders and outsiders, with new divisions drawn between traditional and modern, urban and rural, American and European, high and low, the wider public and the enlightened few. The American artist was not the only figure seemingly made provincial by the dramatic processes of modernisation and modernism in the decades around 1900. Reflecting on the 1913 Armory Show, painter and exhibition organiser Jerome Myers noted its disorienting effect on American artists: ‘in the swirling medley of art on parade…more than ever before we had become provincials’. ![]()
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