“To me, a painter, if not the most useful, is the least harmful member of our society,” said Man Ray in defense of his work. Most scholarly studies of Ray have placed him in the contexts of Dadaism and Surrealism—two provocative movements—or they explore his photography, which he practiced on an artistic and commercial level, first in New York and later in Paris. But Ray saw himself as a painter, and this exhibition is the first to present him as such. —C.J.F.
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