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  • Color Plate Insert

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Color Plate A.

Installation view of Billy Apple®’s first solo show, Live Stills: Apple Sees Red, Gallery One (Victor Musgrave’s gallery), Grosvenor Square, London, April 1963. The show included some of the 12 Self Portraits and Apple Sees Red on Green, 1962. (© Billy Apple®. Courtesy of the Billy Apple® archive.) See article by Craig Hilton in this issue.

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Color Plate B.

Christine Ladd-Franklin, “The Stages of Development—Theoretical,” from Christine Ladd-Franklin, Colour and Colour Theories (New York: Harcourt, Brace, and Company, 1929), Plate IV. On page 277 of the same book, Ladd-Franklin explained: “This diagram represents the (hypothetical) development of a molecule of the light-sensitive substance.” See also Ladd-Franklin’s technical line drawing in Fig. 7 of Jeremy Kargon’s article in this issue.

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Color Plate C.

No. 1. The PX structure and its relationship to Mayan sculpture. (a) Mayan pottery. (b) The PX structure. (c) A blowup of the PX chirality seen in the Mayan sculpture. (Photos: Nadrian C. Seeman) The PX motif looks like two double helices wrapped around each other, although somewhat more complex. The Mayan pottery in panel (a) contains a motif near the bottom that looks very similar to the PX motif, although the two images of it, shown at left and right, are of different chiralities. The detail shown in panel (c) shows a helical structure made of bipartite components. See article by Nadrian C. Seeman in this issue.

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No. 2. Hubble’s sharpest view of the Orion Nebula, released 11 January 2006. (NASA, ESA, M. Robberto [Space Telescope Science Institute/ESA] and the Hubble Space Telescope Orion Treasury Project Team) This digitally colorized photograph represents different regions of the electromagnetic spectrum; color corresponds to energy. The image-maker superimposed the combined HST Advanced Camera for Surveys photograph over a ground-based image from the European Southern Observatory MPI 2.2-meter La Silla 2.2 WFI, which happens to be restricted to the optical range. See article in this issue by Shana Cooperstein.

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