merely transposed the magazine photo-essay from page to museum wall; in 1955 Rollie McKenna likened the experience to a ride through a funhouse, while Russell Lynes in 1973 wrote that Family of Man "was a vast photo-essay, a literary formula basically, with much of the emotional and visual quality provided by sheer bigness of the blow-ups and its rather sententious message sharpened by juxtaposition of opposites — wheat fields and landscapes of boulders, peasants and patricians, a sort of 'look at all these nice folks in all these strange places who belong to this family.'" Jacob Deschin, photography critic for The New York Times, wrote, "the show is essentially a picture story to support a concept and an editorial achievement rather than an exhibition of photography." From an optic of struggle, echoing Barthes, Susan Sontag in On Photography accused Steichen of sentimentalism and oversimplification: ' ... they wished, in the 1950s, to be consoled and distracted by a sentimental humanism. ... Steichen's choice of photographs assumes a human condition or a human nature shared by everybody." Directly quoting Barthes, without acknowledgement, she continues; "By purporting to show that individuals are born, work, laugh, and die everywhere in the same way, The Family of Man denies the determining weight of history - of genuine and historically embedded differences, injustices, and conflicts.' Allan Sekula in 'The Traffic in Photographs' (1981) posits The Family of Man as a capitalist cultural tool levering world domination at the height of the Cold War; "My main point here is that The Family of Man, more than any other single photographic project, was a massive and ostentatious bureaucratic attempt to universalize photographic discourse," an exercise in hegemony which, "In the foreign showings of the exhibition, arranged by the United Scates Information Agency and co-sponsoring corporations like Coca-Cola, the discourse was explicitly that of American multinational capital and government–the new global management team–cloaked in the familiar and musty garb of patriarchy." Sekula revises and expands this notion in relation to his ideas about economic globalisation in an article in October entitled "Between the Net and the Deep Blue Sea: Rethinking the Traffic in Photographs". Others attacked the show as an attempt to paper over problems of race and class, including Christopher Phillips, John Berger, and Abigail Solomon-Godeau, who in her 2004 essay, while describing herself as among "those who intellectually came of age as postmodernists, poststructuralists, feminists, Marxists,