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...view at Chicago's Museum of Contemporary Art that attacks this generalization too. "Chicago Imagist Art," a grab bag of work by 28 painters and sculptors, moves to the New York Cultural Center on June 27. It is a messy and often backward show, but it does trace the growth of a resolutely independent attitude to paint, metal and wood and what images can be made from them...

Author: /time Magazine | Title: Art: Midwestern Eccentrics | 6/12/1972 | See Source »

...know you're not a man in a kangaroo suit?" "Well, how do I know you're not a kangaroo in a girl's suit?" Trace the origin of this dialogue...

Author: By E.j. Dionne, | Title: The 'Which Way to Fenway' Sox Quiz | 5/26/1972 | See Source »

...insisted that contrary to popular belief, the role of pushers in epidemic addiction is secondary. It is primarily the users-especially new users-who spread drug abuse by persuading their friends to join them in their mindless pursuit of euphoric highs. Sometimes, Bejerot says, it is even possible to trace waves of addiction to particular carriers. In 1949, for example, he discovered that a small group of Stockholm bohemians was responsible for a surge of amphetamine use that eventually produced 12,000 new Swedish addicts. Similarly, eleven Norwegian drug users deported from Sweden in 1967 stimulated 100 new addiction cases...

Author: /time Magazine | Title: Behavior: Quarantining Addicts | 5/22/1972 | See Source »

...football game reminds Mutual-Fund Manager Denver Milliken of the stock market: anyone who hopes to succeed must have a plan. The lines that stock prices trace on a chart suggest to Milliken the curves of a woman's body -and, the reader suspects, vice versa. For Milliken, a 29-year-old fictional prototype of the "gunslingers" who rode high on Wall Street in the late '60s, the market is everything: father, mother, wife and mistress; food, drink and recreation...

Author: /time Magazine | Title: Books: Mercurial God | 5/15/1972 | See Source »

...opens with an apparently mindless act of terrorism that occurred one day in 1954. A country bus is machine-gunned by Algerian rebels on a mountain road, and several Algerians, both French and Moslem, are killed. Though few realize it, the war has begun. The film goes on to trace the growth of Algerian nationalism, led for the most part by bemedaled Moslem veterans of World War II who fought with the Free French and came home to find that they themselves were not free...

Author: /time Magazine | Title: The World: All Were Guilty | 4/24/1972 | See Source »

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