Section
Marriage and childbirth
Following the lovers sequence, the exhibition turned to marriage and to childbirth — a theme MoMA’s archives-highlights page names directly in its summary of the flow,1 and which the CNA education portal includes in its enumeration of the exhibition’s themes.2
This grouping is a thematic cluster; “marriage and childbirth” is not a verbatim heading from the 1955 catalog, which does not present its sequencing as titled sections. Roland Barthes’s 1957 critique — that grouping births and deaths under universal headings “removes History from them, [and] there is nothing more to be said about them” — bears specifically on the curatorial logic of this cluster.3