ART on view 92 FIG. 5 (left): Mask of the Oculate Being. Paracas, Chongos, Pisco Valley, South Coast, Ica region, Peru. 200–1 BC. Ceramic with resin paint. H: 27.9 cm. The Princeton University Art Museum, museum purchase, Fowler McCormick (class of 1921) Fund, inv. 2013-80. Photo: Bruce M. White. FIG. 7 (right): Chak Chel (Great Rainbow). Maya, Jaina Island or vicinity, Northern Lowlands, Campeche, Mexico. AD 600–800. Ceramic with traces of Maya blue pigment. H: 26.0 cm. The Princeton University Art Museum, gift of J. Lionberger Davis (class of 1900), inv. y1965-197. Photo: Bruce M. White. FIG. 8 (facing page): Moon mask. Tlingit, Sitka area, Northwest Coast, Alaska. 1830–50. Wood and red, black, blue pigment. H: 25.4 cm. The Princeton University Art Museum, loaned by the Department of Geology and Geophysical Sciences, Princeton University. inv. PU 3912. Photo: Bruce M. White. comfortable for visitors; highlighting the most important and visually striking works so that no visitor would be likely to overlook them during a casual visit; establishing a greater representational balance across the Western Hemisphere’s rich cultures and artistic traditions; and providing a complementary narrative to catalyze deeper understanding and engagement between our visitors and the art. We additionally hoped to achieve these goals with modest fi nancial investment and, by necessity, within the physical parameters established by the existing architecture. FIG. 6 (left): Lime container, poporo. Quimbaya, mid-Cauca region, Colombia. 200 BC–AD 1000. Gold-copper alloy. H: 22.9 cm. The Princeton University Art Museum, loaned by University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia, PA, inv. a position he espoused through the display of his L.2015.1.1. own collection at the Art Museum, his impassioned undergraduate teaching, his organization of seminal exhibitions in the fi eld, and his publications. To date, Griffi n has donated more than one hundred Pre- Columbian works to Princeton from his personal collection and intends to bequeath the remainder, comprised of over 2,000 additional works. His infectious enthusiasm for the ancient Americas has also inspired numerous collectors and art dealers to make major donations. These include Stephanie H. Bernheim and Leonard H. Bernheim Jr. (class of 1959); Michael D. Coe; Lin and Emile Deletaille; John B. Elliott (class of 1951); John H. Hauberg (class of 1939); Mrs. Gerard Lambert; Samuel Merrin; and Carol Meyer, among others (fi gs. 1, 5, 7, 9, 10, 11, and 12). The Art Museum’s ancient Americas collections exhibit special strength in the art of ancient Mesoamerica, with particularly signifi cant holdings in Maya pottery and fi gurines, Formative period art (Olmec, Tlatilco, Xochipala), and material associated with Teotihuacan (fi gs. 4, 7, 10, and 11). Although other regions enjoy less depth and coverage, a number of important works of other cultures and periods are among the museum’s holdings (fi g. 9). The enormous growth of the collection demanded a new installation that this year has fi nally been realized. Over the past year, a team of museum staff, with the input of docents, faculty, curators from other museums, and a suite of architectural, design, and lighting consultants, has sought to refashion the gallery experience, guided by several fundamental goals. These included making the space more inviting and
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