A womaed on a plain wooden chair under a opy. She is wearing white overalls and has a pleased expression on her face. Watg her, two dogs, German shepherds, at rest. Behind the dogs, with their backs to its, a row of naked women kneeling, sitting on their heels, their buttocks as perfect as eggs or 0s -- 00 00 00 00 00 00 00. In profile to the se, Beo Cellini, in a fur hat.
Two young women ed as gifts. The gift-ing is almost indistinguishable from ordinary clothing, perhaps a shade newer, brighter, more studied than ordinary clothing. Each young woman holds a white envelope. Eavelope is addressed to "Tad."
Two young women, ied together by a lohread. One is dark, one is fair.
Large (eight by te) sheets of white paper on the floor, eight of them. The total area covered is about four hundred square feet; some of the sheets overlap. A string quartet is playing at one edge of this area, and irregular rows of formally dressed spectators sit in gilt chairs across the paper from the players. A large bucket of blue paint has been placed on the paper. Two young women, naked. Each has her hair rolled up in a bun; each has been splashed, breasts, belly, thighs, with blue paint. One, on her belly, is being dragged across the paper by the other, who is standing, gripping the first womans wrists. Their backs are not painted. Or not painted with. The artist is Yves Klein.
Nowhere -- the middle of it, its exact ter. Standing there, a telephone booth, green with tarnished aluminum, the word PHONE and the systems symbol (bell in ring) in medium blue. Ihe telephone booth, two young women, one dark, one fair, fag each other. Their naked breasts and thighs brush lightly (one holding the receiver to the others ear) as they place calls to their mothers in California. In profile to the se, at far right, Beo Cellini, wearing white overalls.
Two young men, ed as gifts. They have ed themselves carefully, tight pants, open-throated shirts, shoes with stacked heels, gold jewelry ht a wrists, codpieces stuffed with credit cards. They stand, under a Christmas tree big as an office building, and women rush toward them. Or they stand, under a Christmas tree big as an office building, and no women rush toward them. A voice singier songs, hallelujahs.
Gees de La Tour, wearing white overalls (Iron Boy brand) is attending a film. On the s two young women, naked, are playing Ping-Pong. One makes a swipe with her paddle at a ball the other has placed just over the and misses, bruising her right leg on the edge of the table. The other puts down her paddle and walks gracefully around the table to examihe hurt; she places her hands oher side of the raw, ugly mark. . . Gees de La Tour picks up his hat and walks from the theatre. In the lobby he purchases a bag of M & Ms which he opens with his teeth.
The world of work: Two young women, one dark, one fair, wearing web belts to which teens are attached, nothing more. They are sitting side-by-side on high stools (00 00) before a pair hting tables, inking-in pencil drawings. Or, in a lumberyard in Southern Illinois, they are unloading a railroad car taining several huhousand board feet of Southern yellow pine. Or, in the posing room of a medium-sized Akron daily, they are passing long pieces of paper through a mae which deposits a thin coating of wax on the back side, and then positioning the type on a page. Or, they are driving identical Yellow cabs which are rag side-by-side up Park Ave