broke the relation. In 1991, Raw 2, 3 was published; it was to be the last issue. The closing chapter of Maus appeared not in Raw but in the second volume of the graphic novel, which appeared later that year with the subtitle And Here My Troubles Began. Maus attracted an unprecedented amount of critical attention for a work of comics, including an exhibition at New York's Museum of Modern Art and a special Pulitzer Prize in 1992. The New Yorker and public legitimacy (1992–2001) Hired by Tina Brown as a contributing artist in 1992, Spiegelman worked for The New Yorker for ten years. His first cover appeared on the February 15, 1993, Valentine's Day issue and showed a black West Indian woman and a Hasidic man kissing. The cover caused turmoil at The New Yorker offices. Spiegelman intended it to reference the Crown Heights riot of 1991 in which racial tensions led to the murder of a Jewish yeshiva student. Twenty-one New Yorker covers by Spiegelman were published, and he also submitted some which were rejected for being too outrageous. Within The New Yorkers pages, Spiegelman contributed strips such as a collaboration, "In the Dumps", with children's illustrator Maurice Sendak and an obituary to Charles M. Schulz, "Abstract Thought is a Warm Puppy". Another of Spiegelman's essays, "Forms Stretched to their Limits", in an issue was about Jack Cole, the creator of Plastic Man. It formed the basis for a book about Cole, Jack Cole and Plastic Man: Forms Stretched to Their Limits (2001). The same year, Voyager Company published The Complete Maus, a CD-ROM version of Maus with extensive supplementary material, and Spiegelman illustrated a 1923 poem by Joseph Moncure March called The Wild Party. Spiegelman contributed the essay "Getting in Touch With My Inner Racist" in the September 1, 1997, issue of Mother Jones. Spiegelman was comics editor of the New York Press in the early 1990s. He was comics editor of Details magazine in the late 1990s; in 1997 he began assigning comics journalism pieces in Details to a number of his cartoonist associates, including Joe Sacco, Peter Kuper, Ben Katchor, Peter Bagge, Charles Burns, Kaz, Kim Deitch, and Jay Lynch. The magazine published these works of journalism in comics form throughout 1998 and 1999, helping to legitimize the form in popular perception. Spiegelman's influence and connections in New York cartooning circles drew the ire of