manner of an academic realist; his portraits and still lifes are composed of broad painterly effects, strong colors, and thick textures. In brushstroke and intensity, a Kuhn face or still life is unmistakably Kuhn's. In 1925, Kuhn almost died from a duodenal ulcer. Following an arduous recovery, he became an instructor at the Art Students League of New York. He also completed a commission for the Union Pacific Railroad, the club car "The Little Nugget" LA-701, currently under restoration at the Travel Town Museum in Los Angeles, California. In 1933, the aging artist organized his first retrospective. During these years, he began to question his earlier allegiance to European Modernism. On a 1931 trip to Europe with Marie and W. Averell Harriman, his staunchest supporters, he declined to join the Harrimans on their visits to the studios of Picasso, Georges Braque, and Fernand Léger. Yet neither did he want to align himself with the anti-Modernist camp of Regionalists like Thomas Hart Benton and politically-minded social realists. In the art politics of the day, Kuhn was caught between two extremes. By the 1940s, Kuhn’s behavior began to take on unsound characteristics. He became increasingly irascible and distant from old friends. When the Ringling Brothers Circus was in town, he attended night after night. (During a hard-pressed period in the 1920s, Kuhn had worked as a designer and director for revues and circus acts.) He also became frustrated by the lack of attention his own work was receiving and was particularly strident about the Museum of Modern Art's support of abstraction and neglect of American art in the postwar period. In 1948, he was institutionalized, and on July 13, 1949, he died suddenly from a perforated ulcer. He is interred in Woodlawn Cemetery in The Bronx, New York City. Work Walt Kuhn is best remembered today for his key role in planning the Armory Show. Ironically, a man who was in the forefront of the modern movement and was seen as an advocate of adventurous new art in 1913 came to be labelled, because of his on-going commitment to representation, a conservative artist by future generations of art historians. Nevertheless, he holds a place in American art history as a skilled cartoonist, draughtsman, printmaker, sculptor and painter. Although he destroyed many of his early paintings, his works that remain today are powerful and are a part of most major American art collections.