admired. In 1918, with Duncan Phillips and Augustus Vincent Tack, he organized an exhibition, the Allied War Salon of New York. The works in this show were almost all traditionally representational. The exceptions were paintings by a British artist, C.R.W. Nevinson, whose work at this time could be described as a cubist version of futurism. Nevinson's French Troops Resting of 1916, was exhibited at the Keppel & Co. galleries in 1919 and was probably included in the 1918 show. It and similar works of his are said to have been Gallatin's first introduction to this aspect of modernism. Art collecting: 1920s In 1916, Gallatin had dismissed modernists in general and cubists in particular as immature. He thought their work to be half-baked, mediocre, and depressing. By the middle of the 1920s, through the influence of Nevinson, of the critic, Clive Bell, and of the authors of articles in The Arts magazine, he had thoroughly revised his opinions. Nevinson showed that cubism was not a gimmick, but a technique that emerged naturally from the art of its time. Bell articulated a formalist aesthetic that coincided with Gallatin's belief that art was not good because of its realism, but because the two-dimensional space of the painting, drawing, or print possessed a satisfying composition, line, shape, color, and texture. Pictorial representation, trueness to life, and the illusion of depth were secondary concerns. Bell also voiced an opinion that seems to have been latent in Gallatin's thought as well: good art is well-ordered rather than chaotic and it proceeds from the artist's thought processes and intuitive sense of rightness more than his emotions. William Zorach and other authors of articles in The Arts discussed an art of "purely abstract forms and colors" that, through an elimination "of everything not vitally necessary," produced a true art. The difficulty of judging what is a "masterpiece" and what is an "abortion" is no different for abstract than it is for representational art: it takes experience, careful study, and "listening to one's inner response." In the years between 1920 and 1926 Gallatin became a member of the modernist Société Anonyme and was introduced to the influential artist-critic Jacques Mauny who soon became his friend and advisor. Mauny introduced him to Pablo Picasso and other painters and to the dealer and author, Daniel-Henry Kahnweiler. These men helped further to shape his growing appreciation for cubism and Mauny, in particular,