Hannes Rosenberg August Sander (Germany) Walter Sanders (USA) Sanford H. Roth (USA) Gotthard Schuh Éric Schwab (France) Bob Schwalberg (USA) Kurt Severin (Germany/USA) David Seymour (Poland) Ben Shahn (Lithuania/USA) Musya S. Sheeler (USA) Li Shu (China) George Silk (New Zealand/USA) Bradley Smith (USA) Ian Smith (UK) W. Eugene Smith (USA) Howard Sochurek (USA) Peter Stackpole (USA) Alfred Statler (USA) Gitel Steed (USA) Edward Steichen (Luxembourg/USA) Richard Steinheimer (USA) Ezra Stoller (USA) Lou Stoumen (USA) George Strock (USA) Constance Stuart (South Africa) Étienne Sved (Hungary) Suzanne Szasz (USA) Yoshisuke Terao Gustavo Thorlichen (Argentina) Charles Trieschmann (USA) François Tuefferd (France) Jakob Tuggener (Switzerland) Allan Turoff Doris Ulmann (USA) Alexander Uzylan (U.S.S.R.) Ed van der Elsken (Netherlands) William Vandivert Pierre Verger (France/Brazil) Ike Vern (USA) 'Véro' (Werner Rosenberg) (France) Roman Vishniac (Russia/USA) Carmel Vitullo (USA) Edward Wallowitch (USA) Todd Webb (USA) Sabine Weiss (Switzerland) Edward Weston (USA) Bob Willoughby (USA) Garry Winogrand (USA) Arthur Witman (USA) Jasper Wood (USA) Yosuke Yamahata (Japan) Shizuo Yamamoto Reception and criticism Photography, said Steichen, "communicates equally to everybody throughout the world. It is the only universal language we have, the only one requiring no translation." When the exhibition opened most reviewers—and Eleanor Roosevelt who wrote in her column My Day, "I could not have enjoyed anything more .... "—loved the show. Some embraced the idea of this 'universal language', as with Don Langer's response in the New York Herald Tribune:" It can truly be said that with this show, photography has come of age as a medium of expression and as an art form," and even The New York Times art critic Aline B. Saarinen, in an article titled "The Camera versus the Artist" asked "Has photography replaced painting as the great visual art of our time?” Others lauded Steichen as a sort of author and the exhibition as a text or essay. Photographer Barbara Morgan, in Aperture, connected this concept with the show's universalising theme; In comprehending the show the individual himself is also enlarged, for these photographs are not photographs only — they are also phantom images of our co-citizens; this woman into whose photographic eyes I now look is perhaps today weeding her family rice paddy, or boiling a fish in coconut milk. Can you look at the polygamist family group and imagine the different norms that make them live happily in their society which is so unlike — yet like — our own?