After days of viewing the entries and hours of narrowing the field, we have chosen four winners of the Teen T-Shirt Design Competition inspired by the special exhibition American Woman: Fashioning a National Identity.

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The signature image of the exhibition Picasso in The Metropolitan Museum of Art (closing August 15) is the Seated Harlequin, a masterpiece painted by Picasso when he was just nineteen years old. Gary Tinterow, Engelhard Chairman of the Department of Nineteenth-Century, Modern, and Contemporary Art, spoke with me about the painting's imagery and style, as well as recent discoveries made by Metropolitan Museum conservators.

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Among the gorgeous garments on display in the exhibition American Woman: Fashioning a National Identity (closing August 15) is an exquisite black evening dress attributed to Madame Marie Gerber of the house of Callot Soeurs. I spoke with Andrew Bolton, curator in the Met's Costume Institute, about the dress's bold design and glamorous, influential owner.

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I recently posted an article about our twenty-two Summer College Interns (see "New Connections in the Permanent Collection"), and invited you to join us for one of our Highlight Tours or Special Topics Tours. In addition to these undergraduate-led tours, beginning July 23, our twelve Summer Graduate Interns will present Gallery Talks: hour-long lectures exploring single subjects in a carefully selected handful of rooms.

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One hundred years ago today, The Metropolitan Museum of Art opened the doors of its library's new home to art historians, students, and the general public.

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Last May, when the seventeenth-, eighteenth-, and early nineteenth-century period rooms in the "old" American Wing building (1924) reopened after several years of renovation, visitors noticed many changes. Some were huge—we had removed several rooms and moved or replaced others—while some were more subtle, like the new lighting. Still others, like the new air handling, electrical wiring, and fire suppression systems, were nearly invisible to the public. But one major change couldn't be ignored: There were computers in the period rooms!

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During my weekly shifts at the reference desk at the Thomas J. Watson Library, I routinely get asked the same question by inquisitive Museum visitors who pass by our doors: "The Museum has a library?" Over the years, I have learned to treat this as an opportunity to promote the library's collection, services, and resources.

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Eighty-five years ago today, on June 12, 1925, The Metropolitan Museum of Art purchased a collection of medieval sculpture and architectural fragments from George Grey Barnard (1863–1938), a prominent American sculptor and collector. This acquisition formed the nucleus of what would become The Cloisters, the branch of the Museum located in Northern Manhattan and devoted to the art and architecture of medieval Europe.

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