of Art in four sections, culminating in provocative contemporary photography including the 2009 series of deceased migrants wrapped in cloth in Les Proscrits ('The Outcasts') by Mathieu Pernot, and Sophie Calle’s 1986 Les Aveugles in which she photographed those things that her blind subjects described as the most beautiful. The “Prologue” of the exhibition at the Ilwoo Space, provided a critical and historical counterpoint. Texts by Pascal Beausse, Jacqueline Guittard, Claire Jacquet and Magali Nachtergael, Suejin Shin (Ilwoo Foundation) and Kyung-hwan Yeo (SeMA) were presented in a catalogue. The Family Of No Man: Re-visioning the world through non-male eyes The Family Of No Man: Re-visioning the world through non-male eyes, held July 2–8, 2018 in Arles brought together responses to an open call by Cosmos Arles Books, a satellite space of the Rencontres d'Arles, by 494 female and inter-gender artists from all around the world, in a revisitation of Edward Steichen’s original. Works were displayed in interactive installations outdoors and indoors, and uploaded to an online platform as they were received. Permanent installation, Chateau Clervaux, Luxembourg The permanent installation of the exhibition today at Chateau Clervaux in Luxembourg follows the layout of the inaugural exhibition at MoMA in order to recreate the original viewing experience, though of necessity, it is adapted to the unique space of two floors of the restored Castle. Since the 2013 restoration it has incorporated a library (that includes some of the catalogues of the sequel exhibitions above) and contextualises The Family of Man with historical material and interpretation. Cultural references to The Family of Man Karl Dallas' song, The Family of Man, also recorded by The Spinners and others, was written in 1955, after Dallas saw the exhibition. In 1962, Instytut Mikołowski published Komentarze do fotografii. The Family of Man by Polish poet Witold Wirpsza (1918–1985), a commentary on individual photographs and selected displays from the exhibition. References Further reading Berlier, Monique, ‘The Family of Man: Readings of an Exhibition’. In Chapter 3 ‘Subtle Subterfuge: The Flawed Nobility of Edward Steichen's Family of Man.’ In Gedney, W and Donaghy, D. ‘From The family of man (1955) to Robert Frank. William.’ In Giocobbi, Giorgio, ‘Humanist Photography and The "Catholic" Family of Man.’ In ‘Photography as popular culture: The Family of Man.’ In Gresh, Kristen. 2005. "The European Roots of 'The Family of Man' ". History of Photography 29, (4): 331-343. Hurm, Gerd (ed.); Reitz, Anke (ed.);