TABLE OF CONTENTS

A Personal Chronology

1941 As a precocious kid in New York, I was always prowling around the museums, whose then enlightened policy of free admission was a boon to democratic principles of education. One day I stumbled across a double feature on West 53rd Street that, for complete, mind-boggling transport, turned out to rival Dracula and Frankenstein, a more familiar double bill of the period. The sign on the facade advertised MIRO/DALI, an exotic duo of four-letter names ending in vowels; and if I remember correctly, the latter name was in Victorian lettering, to indicate, I guess, a kind of old-fashioned spookiness in contrast to the modern lettering for Miró.

I entered, and was swept away by the two bizarre Wonderlands inside. Dalí, of course, was a snap; what kid or grown-up wouldn’t gasp before his demonic wizardry? But Miró was something else, and even then I recognized that those wiggling blobs, with

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