work Max Eastman wrote, "[T]he drawings of Art Young and Cornelia Barns and William Gropper were of their own intrinsic nature comic. Captions here were unnecessary, or were at least a supplemental element––often, in fact, supplied by the editors in the office." "American Salon of Humorists" was a 1915 exhibit held in New York City at the Folsom Galleries. It was organized by Louis Baury, and Cornelia Barns was one of the twenty-three featured artists. She may have been a relative newcomer to the art scene of New York, but she was rising rapidly. Suffrage and socialism: the New York City years From 1913 to 1917 Barns was a frequent contributor to The Masses, a socialist magazine that attracted a highly talented group of writers and artists. For three years, Barns served on its editorial board. As art historian Rebecca Zurier commented, "The closest thing to a feminist statement by a woman Masses editor appears in the cartoons of Cornelia Barns, who refrained from any serious social analysis." When publication of The Masses was suspending following government charges, a new magazine, The Liberator was founded by Max Eastman and Crystal Eastman. In the February 10, 1918 issue of the New York Call, Cornelia was announced as a contributing editor to The Liberator, along with fellow cartoonist/illustrators Robert Minor, Boardman Robinson and Art Young. In 1925 the New Masses was announced as "A new radical magazine of arts and letters, without political affiliations or obligations but with sympathy and allegiance unqualifiedly with the international labor movement. . ." Once again, Cornelia Barns was listed as a contributing editor. Within socialist periodicals, many cartoons by Cornelia Barns pertained to the topic of women's suffrage and gender equality. As might be expected, she also published cartoons in the suffrage magazines including New York City's Woman Voter and the National Woman's Party's Suffragist. "One Man--One Vote" depicted two immigrant women with young children, juxtaposed with the stare from a male dandy in three-piece suit and walking stick. Her cover, "Waiting," published in The Suffragist in 1919 is a powerful portrayal of an unending mass of strong-bodied women, two with babies in their arms, holding a lighted torch while waiting for political recognition through suffrage. In 1918, in its second year of publication, Cornelia Barns and Lou Rogers were listed as art editors for Margaret Sanger's Birth Control Review. Her earliest contribution was "We Accuse