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often more than lots of paintings. Drawings are very near to the heart. This type of material is usually stacked up in the artist's own studio, never at any time in the hands of dealers. I understand what the Museum did for this drawing exhibition. A few Museum representatives went through whatever papers the galleries had at that time. The result was that they found nothing in most cases. Naturally, the artists knew nothing about it. so the Museum fished out its own collections and showed them. In most cases the drawings were old, some of them as old as twenty years. I feel it is very unfair to present work in this fashion, and that the Museum was not cooperative. Reflecting the fifteen years of Museum existence, definitely it seems slready on the door step of decadence. They are up against the wall. They have taken pseudo-presciousness and intellectualism for thier directions. The shell has hardened very quickly. The inside, naturally, has fermented, and has to be burst. This is unhealthy. Such directions were picked up from already formed decadence in Europe. While there it was a natural course, the Museum of Modern Art has created it in this environment artificially.

The policy of the Museum should be guidance of the mass of the public, as well as encouragement of the artists, for their foresight. The increase of attendance today does not necessarily mean that the Museum of Modern Art is doing good work. Art schools, local galleries, and the old museums are crowded since the war started. It is the great responsibility of the public institutions not to misguide in presenting the cultural side of America today, and in the post war period, of what we have fought for and what we want to dream of in the coming world, and to guide and indicate our