Picasso, Vauxcelles, in Gil Blas (20 March 1908) refers to the most innovative artists of the exposition as 'barbarous schematizers'... who want to create an 'abstract art'. This exhibition was reviewed in the New York Herald 20 March 1908; by Vauxcelles in Gil Blas 20 March 1908; by C. Le Senne in Le Courrier du Soir, 22 March 1908; and by Maurice Denis, in La Grande revue, 10 April 1908. In excess of 1,314 artists exhibit 6,701 works. Matisse does not submit any works. After this salon, the writer Gelett Burgess begins a series of interviews with the avant-garde working currently in Paris and surrounding banlieues. These interviews and Burgess' impressions of the works produced are published in Architectural Record, May 1910, at the heart of the proto-Cubist period. Gelett Burgess writes in The Wild Men of Paris: "Though the school was new to me, it was already an old story in Paris. It had been a nine-days’ wonder. Violent discussions had raged over it; it had taken its place as a revolt and held it, despite the fulmination of critics and the contempt of academicians. The school was increasing in numbers, in importance. By many it was taken seriously. At first, the beginners had been called "The Invertebrates." In the Salon of 1905 they were named "The Incoherents." But by 1906, when they grew more perfervid, more audacious, more crazed with theories, they received their present appellation of "Les Fauves"—the Wild Beasts. And so, and so, a-hunting I would go!" "It was Matisse who took the first step into the undiscovered land of the ugly. Matisse himself, serious, plaintive, a conscientious experimenter, whose works are but studies in expression, who is concerned at present with but the working out of the theory of simplicity, denies all responsibility for the excesses of his unwelcome disciples." "Picasso, keen as a whip, spirited as a devil, mad as a hatter, runs to his studio and contrives a huge nude woman composed entirely of triangles, and presents it in triumph. What wonder Matisse shakes his head and does not smile! He chats thoughtfully of the "Harmony and volume" and "architectural values," and wild Braque climbs to his attic and builds an architectural monster which he names Woman, with balanced masses and parts, with openings and columnar legs and cornices. Matisse praises the direct appeal to instinct of the African wood images, and even