encouraged viewers' interaction; to choose their own path through the exhibition, and to gather to discuss it. The layout and placement of prints and their variation in size encouraged the bodily participation of the audience, who would have to bend down to examine a small print displayed below eye level and then to step back to view a mural image, and to negotiate both narrow and expansive spaces. The prints range in size from to and were made, in the case of the contemporary images, by assistant Jack Jackson, from the negative supplied to Steichen by each photographer. Also included were copies of historical images, for example a Mathew Brady civil war documentation, and a Lewis Carroll portrait. Blown-up, often mural scale images, angled, floated or curved, some inset into other floor-to-ceiling prints, even displayed on the ceiling (a canted view of a silhouetted axeman and tree), on posts like finger-boards (in the final room), and the floor (for a Ring o' Roses series), were grouped together according to diverse themes. Repeated prints of Eugene Harris' portrait of a Peruvian flute-player formed a coda, or acted as 'Pied Piper' to the audience, in the opinion of some reviewers, and according to Steichen himself, expressed "a little bit of mischief, but much sweetness—that's the song of life." Lighting intensities varied throughout the series of ten rooms in order to set the mood. The exhibition opened with an entrance archway papered with a blow-up of a crowd in London by Pat English framing Wyn Bullock's Chinese landscape of sunlight on water into which was inset an image of a truncated nude of a pregnant woman in an evocation of creation myths. Subjects then ranged in sequence from lovers, to childbirth, to household, and careers, then to death and, on a topical and portentous note, the hydrogen bomb (an image from LIFE magazine of the test detonation Mike, Operation Ivy, Enewetak Atoll, October 31, 1952) which was the only full-colour image; a room-filling backlit Eastman transparency, replaced for the travelling version of the show with a different view of the same explosion in black and white. Finally, full cycle, visitors returned once more to children in a room in which the last picture was W. Eugene Smith's iconic 1946 A Walk to Paradise Garden. As the centrepiece of the exhibition a hanging sculptural installation of photographs including Vito Fiorenza's Sicilian family group and