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went. Boston did not take to it. Maybe the sight of a large plaster relief by Matisse hanging between two drawings by Ingres was just a bit too much. Local psychoanalysts were especially vehement in their disapproval. Our relations with the managment were most cordial; they did everything possible to promote success. However results on the whole could not be compared with those of New York and Chicago. The International Exhibition of Modern Art of 1913 was over. 
 It took an entire year to close up the affairs of the exhibition, with many disagreeable chores of a minor sort. There were no debts left to embarrass any of us. If anybody was embarrassed, it could only have been Arthur B. Davies and he certainly did not show it. After squaring everying, the bulk of the money left was turned over to him and by him possibly to friends who had supplied it to him in the beginning. All had worked hard, not one member of the Association accepted a penny as remuneration for his services. Nothing remained now, but to see what effect our great adventure would have on these United States.
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  To the collectors of America and abroad, too numerous to mention here, who so willingly loaned their works of art, and to the following group of artists who constituted the Association and whose sportsmanship and unity of purpose made the thing possible, all credit is due: 
 Karl Anderson, George Bellows, D. Putnam Brinley, J. Mowbray Clarke, vice-president; Leon Dabo, Jo Davidson, Arthur B. Davies, president; Guy Pene Du Bois, Sherry E. Fry, William J. Glackens, Robert Henri, E.A. Kramer, Walt Kuhn, secretary; Ernest Lawson, Jonas Lie, George B. Luks, Elmer L. MacRae, treasurer; Jerome Myers, Frank A. Nankivell, Bruce Porter, Maurice Prendergast, John Sloan, Henry Fitch Taylor, Allen Tucker, Mahonri Young. 
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