and the Mirror series (1962-1971). Many of these images juxtapose beauty and ugliness, youth and age, in the analysis of the female body. The space is often compressed by a curtain or close-up wall, so that the viewer is confronted by the symbolic identity of the protagonist. Paper lanterns are also a common motif in Tooker's "private" works, often being shared amongst individuals, beacons of soft, warm light that present a pleasant mood to the entire scene. See Garden Party (1952), In the Summer House (1958), and Lanterns (1986). Tooker's style of person is notably recognizable. Often they resemble skeletons and seem frozen in time and space, though certainly not flat. See Divers (1952) or Acrobats (1950-1952). Even as the people depicted in these images are more individualized than those of the "public" pieces, people in a single image are often depicted as variations of the same face, with similar hair colors and physical features that unify and highlight commonalities. Even these "private" images held social commentary. Voices I (1963) depicts two men, physically identical, separated by a thin door yet unable to communicate. He was deeply concerned with the apparent failure to understand and communicate within American society. While Tooker's figures' facial expressions are rarely particularly emotional, these images carry heavy emotional tones, through the gestures, symbolism, and lighting. See Door (1969–70), Man in the Box (1967), and Night I (1963). He also created religious works. His elaborately painted seven-panel piece The Seven Sacraments is located in his local church in Windsor, Vermont. Supper (1963) depicts a black man praying over a loaf of bread in front of two white men, easily recognizable as a modern update on the Last Supper. Girl Praying (1977), Orant (1977), Lovers (1982), and Embrace II (1984) are uplifting in their portrayal of genuine spiritual connection. The juxtaposition of emotions in these four images suggest the gravity of spirituality and love for Tooker. Tooker's first exhibition was "Fourteen Americans" at the Museum of Modern Art in 1946. In 1974, the Fine Arts Museums of San Francisco organized a retrospective called "George Tooker: Paintings, 1947-1973." In 1989, the Marsh Gallery at the University of Richmond held an exhibition dedicated to Tooker. The Addison Gallery of American Art, the National Academy Museum, Pennsylvania Academy of the Fine Arts, the Columbus Museum of Art, and the Whitney Museum of American Art all held exhibitions dedicated to George