Merry White crumpled to the gallery floor. She had been walking around the East Building at the National Gallery of Art in 1984 when shed suddenly
Sebastian Smee is an Art Critic at The Washington Post. He covers a wide range of topics within the arts, including fine art, digital art, cultural movements, and urban art, while also exploring intersections with pop culture and internet culture. His work has been featured in notable publications such as The New Yorker, The Atlantic, and Literary Review.