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Miller, a curator of painting and sculpture, organized six legendary Americans exhibitions at the Museum between 1942 and 1963. Designed to showcase recent trends in American art, as a series they reflected and promoted what Miller saw as the best work of the day. In 1952 her exhibition 15 Americans debuted Abstract Expressionism at the Museum, bringing the innovations of the New York School to a (somewhat hostile) mass audience for the first time. In 1956 Miller organized 12 Americans, giving voice to the apostles of the Abstract Expressionists, the second generation of the New York School. In 1958–59 her traveling exhibition The New American Painting proclaimed the radicalism of American abstraction throughout Europe, propelling the artists onto the international scene—it was "the equivalent of the Armory show in reverse," collector Ben Heller said.¹ Perhaps the most radical of Miller'sAmericans exhibitions was 16 Americans, of 1959–60. This historic exhibition featured the next generation of American artists—those whose work, departing from Abstract Expressionism, led to the Neo-Dada, Minimalism, and Pop art of the latter decades of the century. In addition to her discerning eye and uncanny ability to scout new talent, Miller was distinctive in her approach to exhibition installation. "What you try to achieve," she said, "are climaxes—introduction, surprise, going around the corner and seeing something unexpected, perhaps several climaxes with very dramatic things, then a quiet tapering off with something to let you out alive."² Miller retired from the Museum in 1969.Mock began working at MoMA part-time in 1937 and with John McAndrew, Curator of Architecture and Industrial Design, she organized What Is Modern Architecture?, a circulating exhibition, in 1938. In 1940 she became McAndrew's assistant and after he was dismissed, in 1942, she took over the Department of Architecture and Industrial Design, heading it during the war years. She organized several exhibitions relating to housing—Built in the U.S.A.: 1932–1944 (1944), Tomorrow's Small House: Models and Plans (1945), and If You Want to Build a House (1946)—and through her efforts and those of her sister, Catherine Bauer, the department became an advocate in the fields of urban planning and housing in the 1930s and 1940s. In 1964 the Museum published Mock's book Modern Gardens and the Landscape (she was known then as Elizabeth B. Kassler), one of the definitive surveys in the field.The Modern Women's Fund was established at the Museum in 2005, through the generous support of Sarah Peter, to promote scholarship on women in the arts. The first project financed by the fund was the twoday international symposium "The Feminist Future: Theory and Practice in the Visual Arts," in January 2007. The symposium brought together artists, art historians, curators, and activists to examine the ways in which gender is and has been addressed by museums (including MoMA), the academy, and artists and to discuss its future role in art practice and scholarship. This book, Modern Women: Women Artists at The Museum of Modern Art, is its second major undertaking. The fund has also sponsored educational programs (including The Feminist Future series of panel discussions, 2007–08, and the Women and the Bauhaus lecture series, 2009–10), research and travel opportunities for curators, and a series of exhibitions featuring work by women artists in the Museum's collection in 2010.When her husband, Beaumont, the Museum's curator of photography, was drafted into the Army Air Forces in 1942, Newhall—a painter and an expert on the work of photographer Alfred Stieglitz—was hired in his stead.¹Although inexperienced in museum work, she steered the department through a turbulent period, including the dismissal of Alfred H. Barr, Jr., as director of the Museum, in 1943, and an exhibition program that included—against her wishes—large-scale photographic reproductions for propagandistic aims (in shows organized by Edward Steichen), very much in opposition to the department's scholarly and aesthetic approach to the medium. During her tenure Newhall organized more than a dozen exhibitions, including New Acquisitions: Photography by Alfred Stieglitz (1942–43); Helen Levitt: Photographs of Children (1943), Levitt's first solo exhibition; and significant monographic exhibitions of work by Paul Strand (1945) and Edward Weston (1946), the first photography retrospectives at the Museum and the first for Strand at any American museum. Despite these contributions, the Museum did not allow Newhall to remain in the department after Beaumont's return, in 1945. In 1946 Steichen was hired to head the department and Beaumont resigned in protest.