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-2- (99) Tanguy's "The Hunted Sky" of 1951 was first shown in the Museum's Tanguy exhibition held in the year of his death, 1955. Of this painting James Thrall Soby wrote: "Tanguy...saw parts of Arizona and, like his colleague, Max Ernst, was startled by the geological phenomena of the America West, which both visited soon after their arrival here in 1959... 'The Hunted Sky' assembles stony forms in mannequin-like piles, their relative uniformity of coloring relieved by stark white objects, like bits of paper blowing or settling in the arid, desert air." André Breton's "Poem-object" of 1941 was dedicated to Kay Sage Tanguy. The poem is an integral part of the object which in an assemblage and is inscribed in paint on the background: "ces terrains vagues/ où j'erre/ vaincu par l'ombre/ et la lune/ accrochée à la maison de mon coeur" ("these wastlands/ where I wander/ overcome by the darkness/ and the moon/ hanging in the house of my heart"). In a recent letter the artist explains that this object illustrates a dramatic episode in his own life, and that the "house of my heart" is to be understood as an astrological term. In the untitled collage of 1933 by Miro, a charcoal drawing links three postcards and various other pictures pasted on a large sheet of green paper. Calder's stabile-mobile sculpture of brightly painted aluminum is small but characteristic, as are the paintings by Ernst, Hélion and Paalen dating from the 1930s. Kay Sage's collage is one of a group of objects she made in her last years; it was the Museum's [[underlined]] Art of Assemblage [[/underlined]] exhibition in 1961, as was the Breton "Poem-Object." The Kay Sage Tanguy Bequest is rich in drawings, particularly those of Tanguy who is represented by 72 items, only 19 of which could be shown in the present exhibition. William S. Lieberman, Curator of Drawings and Prints at the Museum, says: "The drawings in the Bequest are of special interest for two reasons. First, they include works by other artists which Kay and Yves Tanguy collected for their own enjoyment, drawings by Delvaux, Kiesler and Masson. Second, those by Tanguy himself offer as a group a unique opportunity to study in depth his own, remarkably (more)