the school, and at the end of the school year, he returned to New York. There, he married Vera Spier. Soon after, a daughter, Brenda Kuhn, was born. An important friendship was formed at this time with artist Arthur Bowen Davies, who would also play a significant role in American art history. In 1909, Kuhn had his first solo exhibition in New York. In the following years, he took part in founding the Association of American Painters and Sculptors, the organization ultimately responsible for the Armory Show. Kuhn acted as the executive secretary and was delegated as one of the men to find European artists to participate. He, Davies, and artist Walter Pach made a whirlwind tour of Europe in 1912 to find the best and most audacious examples of new art to introduce to New York audiences. He visited the International Art Exhibition of the Federation of West German Art-Lovers in Cologne and was inspired by it for the organisation of the Armory Show of 1913, which displayed both European and American modernist art, resulted in both an historic controversy and a long-range triumph. Smart and sensational publicity, combined with strategic word-of-mouth, resulted in attendance figures of over 200,000 and over $44,000 in sales, far exceeding anyone's expectations for the venture. After its New York venue, the Armory Show toured, receiving widespread attention, in Chicago and Boston. "Kuhn had a talent for promotion," art critic Robert Hughes has noted. This unprecedented exhibition had demonstrated that Americans might be receptive to modern art and that there was a large potential market for it; Kuhn played a major role in a transformative cultural event. Following the Armory Show, Kuhn acted as an art advisor to the lawyer and collector John Quinn and assisted in the formation of his unique collection of modern art, unfortunately dissolved and sold at the time of Quinn's death in 1924. He also exhibited with the Whitney Studio Club and became a much-appreciated artist at the Whitney Museum of American Art. Kuhn's work in the 1910s often showed the influence of the modern European painters whose art he had helped to promote. The Polo Ground (1914), for instance, contains strong echoes of Raoul Dufy. Other critics noted an affinity for André Derain and the German Expressionists. By the end of the decade, though, Kuhn's paintings had become more traditionally representational again, though he never worked in the