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Log In | The New Criterion
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The true colors of antiquity | The New Criterion
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“Municipal decay,” by Michele H. Bogart
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A family of ghosts | The New Criterion

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“The new Shylock,” by Dominic Green
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“A new Frick,” by the Editors
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A “guide” to popular culture? | The New Criterion
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“Politics & the Venice Biennale,” by Philip Rylands

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Pinchas & Co. | The New Criterion
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The Philharmonic’s new horizons | The New Criterion
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The return of the nativist | The New Criterion
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The art of George McNeil | The New Criterion

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“Two sculptors in Tribeca,” by Karen Wilkin
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Rear window | The New Criterion
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The obsessions of Marguerite Duras | The New Criterion
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Julian Schnabel paints a portrait of God | The New Cri…

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“Consensual Cole,” by Paul du Quenoy
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“Roman intrigue,” by Paul du Quenoy
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Frank Lloyd Wright comes to MoMA | The New Criterion
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“The corpse was dead & other stories,” by Andre…

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The case of Roy Campbell | The New Criterion
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“Prague calling,” by Emina Melonic
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The Berlin Philharmonic without Karajan | The New Criterion
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The art inside the book | The New Criterion

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Mark Van Doren & American classic…

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