Carl Mydans' of a Japanese family (both from nations which were recent enemies of the Allies in WW2), another from Bechuanaland by Nat Farbman and a rural family of the United States by Nina Leen, encouraged circulation to view double-sided prints and invited reflection on the universal nature of the family beyond cultural differences. Photos were chosen according to their capacity to communicate a story, or a feeling, that contributed to the overarching narrative. Each grouping of images builds upon the next, creating an intricate story of human life. The design of the exhibition built on trade displays and Steichen's 1945 Power In The Pacific exhibition which was designed by George Kidder Smith for MoMA, Steichen's commissioning of Herbert Bayer for the presentation of his curatorship of other exhibitions and his own long history of initiation of innovative exhibits dating back to his association with Gallery 291 early in the century. In 1963 Steichen elaborated on the special opportunities offered by the exhibition format; In the cinema and television, the image is revealed at a pace set by the director. In the exhibition gallery, the visitor sets his own pace. He can go forward and then retreat or hurry along according to his own impulse and mood as these are stimulated by the exhibition. In the creation of such an exhibition, resources are brought into play that are not available elsewhere. The contrast in scale of images, the shifting of focal points, the intriguing perspective of long- and short- range visibility with the images to come being glimpsed beyond the images at hand —all these permit the spectator an active participation that no other form of visual communication can give. Texts used in the exhibition and book The enlarged prints by the multiple photographers were displayed without explanatory captions, and instead were intermingled with quotations by, among others, James Joyce, Thomas Paine, Lillian Smith, and William Shakespeare, chosen by photographer and social activist Dorothy Norman. Carl Sandburg, Steichen's brother-in-law, 1951 recipient of the Pulitzer Prize for Poetry and known for his biography of Abraham Lincoln, inspired the title of the exhibition with a line from his poem The Long Shadow of Lincoln: A Litany (1944);There is dust alive With dreams of the Republic, With dreams of the family of man Flung wide on a shrinking globe; It was Sandburg who added an accompanying poetic commentary also displayed as text panels