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these various forms for 30 years and knows them well. Their influences and counterinfluences.
Mr. Gebhard says there is a need for analysis of Indian Painting, its history and its aesthetic contribution to our contemporary world. There is such a need, and the work should be done by some one familiar with Indian Art and with the art trends of our modern world. This has been efficiently dealt with in a book now ready for publication by Dorothy Dunn who knows Indian Art and has long been conversant with its various phases. 
Naturally the Indian has painted the world he knew as he saw it, and he has used symbolism. Now as 

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always, in the past, as in the future, he succeeds as he is faithful to the spirit - to his religion and to the deeper springs of his being.
They experiment, they make failures, as do we all who are alive. Velino, whose other name is Ma-pi-wi - has experimented as much as you or I, - and in all his experimenting has done some notable work in more than one form, that will live. To have pigeon-holed Velino would have been a crime.  The same is true of a younger artist - Joe Herrera. In his recent experimentations he might be documented as modern, but the lovely decorating work he did on Maisel's wall in Albuquerque was not so. Who can say what his next exploration will be?