German, Spanish, Italian, Portuguese, or Japanese. Approximately half his publications focus on Canadian art and culture. His first book, David Milne and the Modern Tradition of Painting, published in 1983, is the first in-depth study of the artist. His most recent book, The Bomb in the Wilderness: Photography and the Nuclear Era in Canada, published in 2020, is the first substantial examination on what photography reveals about the size and shape of Canada’s nuclear footprint. The Bomb in the Wilderness: Photography and the Nuclear Era in Canada The Bomb in the Wilderness contends that photography is one of the primary ways, if not the primary way, nuclear activities are interpreted and remembered. The book asks: Do photographs alert viewers to nuclear threat, numb them to its dangers, or do both at the same time? O’Brian argues that the impact and global reach of Canada’s nuclear programs have been felt ever since the bombing of Hiroshima and Nagasaki in 1945. The book has been referred to as a “foundational text.” Douglas Coupland writes, “It finds beauty in grotesque places [and] validates the reader’s Cold War paranoia.” Camera Atomica Guest curated by O'Brian for the Art Gallery of Ontario in 2015, Camera Atomica was "the first substantial exhibition of nuclear photography to encompass the entire postwar period from the bombings of Hiroshima in 1945 to the triple meltdown at Fukushima Daiichi in 2011." The exhibition included over 200 works ranging from photographs taken by the United States government of atomic bomb tests to images of anti-nuclear protests on the streets of Toronto, to images by artists, to photos of the utilization of nuclear technology in medicine. In addition to addressing key issues in the nuclear era, Camera Atomica aimed to make visible the interconnections between nuclear technology and the photographic medium. One critic concluded that going to the show was “a civic duty.” Peter Galison wrote that "this remarkable show and catalogue promise to make clear that the age of the nucleus is also and always an age of the image." Ruthless Hedonism: The American Reception of Matisse Matisse was an emblematic figure in twentieth-century art, perhaps the emblem of an artist whose work is predicated on the sensual pleasures of looking. This study investigates how the artist and his work were received in America until his death in 1954. To promote his work, Matisse tried to show the media that whatever