Five hundred and three photographs by two hundred and seventy-three photographers from sixty-eight countries were supposed to converge—to prove that humanity is “one” and that human beings, for all their flaws and villainies, are attractive creatures. The people in the photographs were of all races, ages, classes, physical types. Many of them had exceptionally beautiful bodies; some had beautiful faces. As Whitman urged the readers of his poems to identify with him and with America, Steichen set up the show to make it possible for each viewer to identify with a great many of the people depicted and, potentially, with the subject of every photograph: citizens of World Photography all.

It was not until seventeen years later that photography again attracted such crowds at the Museum of Modern Art: for the retrospective given Diane Arbus’s work in 1972. In the Arbus show, a hundred and twelve photographs all taken by one person and all similar—that is, everyone in them looks (in some sense) the same—imposed a feeling exactly contrary to the reassuring warmth of Steichen’s material. Instead of people whose appearance pleases, representative folk doing their human thing, the Arbus show lined up assorted monsters and borderline cases—most of them ugly; wearing grotesque or unflattering clothing; in dismal or barren surroundings—who have paused to pose and, often, to gaze frankly, confidentially at the viewer.

Arbus’s work does not invite viewers to identify with the pariahs and miserable-looking people she photographed. Humanity is not "one."

The Arbus photographs convey the anti-humanist message which people of good will in the 1970s are eager to be troubled by, just as they wished, in the 1950s, to be consoled and distracted by a sentimental humanism. There is not as much difference between these messages as one might suppose. The Steichen show was an up and the Arbus show was a down, but either experience serves equally well to rule out a historical understanding of reality.