Marsh’s silence regarding his photographs during his lifetime most certainly reflected his sense that they were not independent works of art, but rather tools for collecting visual data, an aide-mémoire for his paintings. And yet his public comments suggest he also was uncomfortable about acknowledging the medium’s role in his work. In 1938—the same year he bought his Leica—an article in the New York World-Telegram.... (http://collections.mcny.org/C.aspx?VP3=CMS3&VF=MNY_9)