For such a bold innovator in ballet, film, theater, and creative writing, Jean Cocteau was a surprisingly tame draftsman. Apart from a couple of early flirtations with Cubism, an amazingly grotesque c. 1920 caricature of his friend Proust, and the bizarre Self-Portrait, Multiplied Under the Effect of Opium, c. 1925–27, Cocteau's modest drawings are mostly reserved, linear, and rather academic-imagine Ingres without the fanatical lucidity or Neoclassical Picasso without the bite. This exhibition documented almost sixty years’ worth of Cocteau's work on paper, supplemented by photographs and