Of vastly more consequence was the International Exhibition of Modern Art in New York City. Opening on February 17 in the 69th Regiment Armory Building, it quickly came to be known as the Armory Show. As one critic at the Albright exhibition predicted, the “wildest and most incomprehensible flights” of the painters in Buffalo, such as Edvard Munch, “will appear mild and quite orderly by comparison with what you will see in the forthcoming International Exhibition of Modern Art.” 1 The Armory Show ran in New York until March 15, before moving on to Chicago and then Boston. Organized by the newly formed Association of American Painters and Sculptors, it introduced the American public to many of the latest developments in European painting and sculpture, including works by Henri Matisse, Pablo Picasso, Wassily Kandinsky and Marcel Duchamp. On opening night one of the organizers, John Quinn, declared, “The members of this association have shown you that American artists—young American artists, that is—do not dread, and have no need to dread, the ideas or the culture of Europe.”
