THE BLIND MAN 
i5 
ette - how do you light a match 
Did you, well it is not danger 
ous at all - Did you got it? 
Are you an American represen 
tative - I am sorry. You are 
Pennsylvania I am Boston. Do 
you want some cigarettes - - Did 
you put the pronunciation. 
Waiter! tongue sandwiches. Do 
you want hot milk. Two perfec 
tions she doesn’t want anything 
- you got it? She can’t write 
it down anyway - through the 
flag oh some cigarettes - waiter 
I want some cigarettes for Mina 
- this is a wonderful tune Ti 
lis li laera Mina. I give you 
two dollars, it means to me two 
dollars - Ti li 11 laera - - it 
is twice I need to shave now. 
Demuth you must he careful of 
your key she keeps it about a 
week every key she gets she 
keeps. You speak like Carlo, 
well when he wants to imitate - 
well have a drink! You know 
those two girls are crazy about 
that man, they mustn't, you must 
get him out. I will have a 
tongue sandwich - you must suck 
it - - - Censorship! Don’t let 
your flag get wet - - is that 
Billy Sunday. One should have 
had an additional star Billy 
Sunday - There’s always a sky 
in heaven! - - - that is too 
low. My ancestor is tall 
people. Don’t write, he is going 
to leave you for a minute. 
Sandwiches - Oh I forgot to 
telephone - what shall I say. 
Ti li li laere - she said - all 
right! 
Compiled by Mina Loy 
291 Fifth Ave,, New York 
April 13, 1917. 
My dear Blind Man: 
Yon invite comment, suggestions. As I un 
derstand- the Independent Society its chief func 
tion is the desire to smash antiquated academic 
ideas. This first exhibition is a concrete move 
in that direction. Wouldn’t it be advisable next 
year during the exhibition, to withhold the names 
of the makers of all work shown. The names, 
if on the canvases, or on the pieces of sculpture, 
etc., exhibited could be readily hidden. The 
catalogue should contain, in place of the names 
of artists, simply numbers, with titles if desired. 
On the last day of the Exhibition the names of 
the exhibitors could be made public. That is each 
number would be publicly identified. A list of 
the identified numbers could also be sent to the 
purchasers of catalogues. To no one, outside of 
the committee itself, should any names be di 
vulged during the exhibition. Not even to those 
wishing to purchase. In thus freeing the exhi 
bition of the traditions and superstitions of names 
the Society would not be playing into the hands 
of dealers and critics, nor even into the hands of 
the artists themselves. For the latter are influ 
enced by names quite as much as are public and 
critics, not to speak of the dealers who are only 
interested in names. Thus each bit of work would 
stand on its own merits. As a reality. The pub 
lic would be purchasing its own reality and not 
a commercialized and inflated name. Thus the 
Society would be dealing a blow to the academy 
of commercializing names. The public might 
gradually see for itself. 
Furthermore I would suggest that in next 
year’s catalogue addresses of dealers should be 
confined to the advertising pages. The Indepen 
dent Exhibition should be run for one thing 
only: The independence of the work itself. The 
Society has made a definite move in the right 
direction, so why not follow it up with still more 
definiteness. 
NO JURY—NO PRIZES—NO COMMERCIAL 
TRICKS. 
Alfred Stieglitz.
	        

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