considers their aesthetic implications: "(...) the three authors coincide in the search for and exaltation of intrinsic beauty in their objectives, regardless of quality and clarity of their references." Legacy In 1929, eleven of Atget's photographs were shown at the Film und Foto Werkbund exhibition in Stuttgart. The U.S. Library of Congress has some 20 prints made by Abbott in 1956. The Museum of Modern Art purchased the Abbott/Levy collection of Atget's work in 1968. MoMA published a four-volume series of books based on its four successive exhibitions of Atget's life and work, between 1981 and 1985. In 2001, the Philadelphia Museum of Art acquired the Julien Levy Collection of Photographs, the centerpiece of which includes 361 photographs by Atget. Many of these photographs were printed by Atget himself and purchased by Levy directly from the photographer. Others arrived in Levy's possession when he and Berenice Abbott entered a partnership to preserve Atget's studio in 1930. Eighty-three prints in the Levy Collection were made by Abbott posthumously as exhibition prints that she produced directly from Atget's glass negatives. Additionally, the Levy Collection included three of Atget's photographic albums, crafted by the photographer himself. The most complete is an album of domestic interiors titled Intérieurs Parisiens Début du XXe Siècle, Artistiques, Pittoresques & Bourgeois. The other two albums are fragmentary. Album No. 1, Jardin des Tuileries has only four pages still intact, and the other lacks a cover and title but contains photographs from numerous Parisian parks. In total, the Philadelphia Museum of Art holds approximately 489 objects attributed to Atget. Atget, a Retrospective was presented at the Bibliothèque Nationale of Paris in 2007. The Atget crater on the planet Mercury is named after him, as is Rue Eugène-Atget in the 13th arrondissement of Paris. Although no statement by Atget about his technique or aesthetic approach survives, he did sum up his life's work in a letter to the Minister of Fine Arts; Copyright The U.S. Library of Congress was unable to determine the ownership of the twenty Atget photographs in its collection, thus suggesting that they are technically orphan works. Abbott clearly had a copyright on the selection and arrangement of his photographs in her books, which is now owned by Commerce Graphics. The Library also stated that the Museum of Modern Art, which owns the collection of Atget's negatives, reported that Atget had no heirs and that any rights