|“View of the World from 9th Avenue,” Saul Steinberg, March 29, 1976|
review of a recent exhibition of Steinberg’s work at the Art Institute of Chicago, Chris Ware wrote:
Historically speaking, “View of the World from 9th Avenue” was a cartoon nuclear reaction, smashing together what New York thought of itself with what the world thought of New York, all on the cover of The New Yorker itself.
It spawned countless city-centered rip-offs that spiraled their particle trails through 1970s dens across the nation, including mine.
To this day it remains the magazine’s most famous cover not featuring its unofficial mascot, Eustace Tilley.
Yet the thieving of Steinberg’s easily thieved premise rankled him for the rest of his life, the most visible sign of his success legitimizing yet also blurring the importance of his contributions to cartooning, to say nothing of twentieth-century art.