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| Badshahi Mosque |
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| Ganesha |
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| Samadhi Ranjit Singh |
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| Pakistani truck rear, with the Buraq Road from Islamabad to Lahore, c. 2008 |
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| National College of Arts |
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| Ibid. |
Que migra o emigra: "no soy de aquí ni soy de allá ... y ser feliz es mi color de identidad." | Eng. Migrant: "I am not from here, nor from there ... and to be happy is the color of my identity." | Fr. Migrateur : "Je ne suis pas d'ici non plus de là-bas ... et être heureux, c'est ma couleur d'identité."
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| Charles Garnier, Opera, 1857-74 |
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| Jules Bastien-Lepage (1848-1884), Sarah Bernhardt, 1879 Painting exhibited at Musée d’Orsay in April 2007 |
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| Jacques Lagrange, Villa Arpel, 1956-58 |
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| Jean-Pierre Jeunet, Le fabuleux destin d'Amélie Poulain, 2001 "Livrée à elle-même, Amélie développe une imagination étonnamment riche." |
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| Notre Dame: Gargoyles |
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| Notre Dame: "Synagoga" |
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| Antoine de Saint-Exupéry, The Little Prince, 1943: "The essential is invisible." |
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| Frank Lloyd Wright, Guggenheim Museum, 1943-59 |
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| Wright, Guggenheim Museum, ramp defining the central space |
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| Francis Bacon, Three Studies for a Crucifixion, 1963 Oil on board, each panel 198.2 x 144.8 cm Solomon R. Guggenheim Museum, New York |
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| Basil Wolverton, "Beautiful Girl of the Month," MAD, # 11. 1954 Collage and ink on paper, 72.4 x 58.4 cm Glenn Bray Archive-Collection |
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| Paul Simon & Art Garfunkel, Bridge over Troubled Waters, 1969-70 |
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| Barbra Kruger, "I shop therefore I am," collage, 1989 |
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| Composition with Hybrid Beings, painted porcelain panel (after a design by Lucas van Leyden), England, 1865 Victoria & Albert Museum |
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| John Tenniel, Humpty Dumpty, 1865 |
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| Charles Barry & Augustus Pugin, Houses of Parliament, 1840-70 |
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| Francis Bacon, Three Studies for Figures at the Base of a Crucifixion, 1944 Oil on board, each panel 95 x 73.5 cm Tate Gallery, London |