Each summer, to the smoke-blackened, pseudo-Renaissance pile of the Carnegie Institute at Pittsburgh come canvases from all over Europe and the U. S. for the Carnegie International, world's biggest competitive show of contemporary painting. In the Institute's galleries they are expertly hung by Jack Nash, a slight, nervous, white-pated ex-jockey. Once the jury of award did the hanging, but for the past 20 years Director Homer Saint-Gaudens has given the job to Jack, who pays small heed to names, more to effect. Jack has seen enough Carnegie juries in action to learn what the public never learns: what artists think...
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