antihumanists, or, for that matter, atheists, this little essay of Barthes's efficiently demonstrated the problem — indeed the bad faith — of sentimental humanism", concedes that "as photography exhibitions go, it is perhaps the ultimate "bad object" for progressives or critical theorists", but "good to think with.". Many of these critics, including Solomon-Godeau who openly admits it, had not viewed the exhibition but were working from the published catalogue which notably excludes the image of the atomic explosion. While The Family of Man was being exhibited there at its last venue in 1959 several pictures were torn down in Moscow by the Nigerian student Theophilus Neokonkwo. An Associated Press report of the time suggests that his actions were in a protest at colonialist attitudes to black races Conversely, other critics defended the exhibition, referring to the political and cultural environment in which it was staged. Among these were Fred Turner, Eric J. Sandeen, Blake Stimson and Walter L. Hixson. Most recently, a compilation of essays by contemporary critics supported by newly translated writings contemporary to the exhibition's appearances collected and edited by Gerd Hurm, Anke Reitz and Shamoon Zamir presents a revised reading of Steichen's motivations and audience reactions, and a reassessment of the validity of Roland Barthes' influential criticism in "La grande famille des hommes" in his Mythologies. A number of photographers and artists refer to their experience of The Family of Man exhibition or publication as formative or influential on them and some, including Australian Graham McCarter being motivated by it to take up photography. These include; Ans Westra, Marti Friedlander, Larry Seigel, John Cato, Paul Cox, Jan Yoors, Pentti Sammallahti, Robert McFarlane (photographer), John Blakemore, Robert Weingarten, and painter Francisco Toledo Tributes, sequels and critical revisions In the years since The Family of Man, several exhibitions stemmed from projects directly inspired by Steichen's work and others were presented in opposition to it. Still others were alternative projects offering new thoughts on the themes and motifs presented in 1955. These serve to represent artists', photographers' and curators' responses to the exhibition beside those of the cultural critics, and to track the evolution of reactions as societies and their self-images change. World Exhibition of Photography Following The Family of Man by 10 years, the 1965 Weltausstellung der Fotografie (World Exhibition of Photography) was based on an idea by Karl Pawek and, supported by the German magazine he edited, Stern,