and disintegration. Absent also from the book, and removed by week eleven of the initial MoMA exhibition, was the distressing photograph of the aftermath of a lynching, of a dead young African American man, tied to a tree with his bound arms tautly tethered with a rope that stretches out of frame. For most purchasers, this was their first encounter with a book that gave priority to the photographic image over text. In 2015, to mark the sixtieth anniversary of the inaugural exhibition, MoMA reissued the book as a hardcover edition, with the original jacket design from 1955 (albeit without the signature of designer Leo Lionni) and duotone printing from new copies of all of the photographs. Photographers Steichen's stated objective was to draw attention, visually, to the universality of human experience and the role of photography in its documentation. The exhibition brought together 503 photos from 68 countries, the work of 273 photographers (163, or 59.3% of whom were Americans) which, with 70 European photographers, means that the ensemble represents a primarily Western viewpoint. That forty were women photographers can in some part be attributed to Joan Miller's contribution to the selection, and to Dorothea Lange who assisted her friend Edward Steichen in recruiting photographers. She contacted her FSA and Life connections who in turn promoted the project to their colleagues. In 1953 she circulated a letter; "A Summons to Photographers All Over the World," calling on them to; show Man to Man across the world. Here we hope to reveal by visual images Man's dreams and aspirations, his strength, his despair under evil. If photography can bring these things to life, this exhibition will be created in a spirit of passionate and devoted faith in Man. Nothing short of that will do. The letter then listed topics that photographs might cover and these categories are reflected in the show's final arrangement. Lange's work features in the exhibition. Steichen and his team drew heavily on Life archives for the photographs used in the final exhibition, seventy-five by Abigail Solomon-Godeau's count, more than 20% of the total (111 out of 503), while some were obtained from other magazines; Vogue was represented by nine, Fortune (7), Argosy (seven, all by Homer Page), Ladies Home Journal (4); Popular Photography (3), and others Seventeen, Glamour, Harper's Bazaar, Time, the British Picture Post and the French Du, by one. From picture agencies American, Soviet,