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EDITORIAL E xpertise in color abounds. Instinctively and intentionally we harness color for every possible purpose, from pleasure to propaganda, and much of this implementation is immensely successful. But there is a crisis in color afoot. Color clearly makes, breaks or sustains a design scheme. All colors deserve praise, but each need be in its proper context, comfortably or uncomfortably the subject of visual, cognitive experience. The former most often results in a feeling of contentment; the latter results in often stimulating but sometimes even harrowing discord. The first instance is exemplified by the consummate color harmonies of seminal rooms and buildings as diverse as those at Pompeii, Malmaison, Colonial Williamsburg or Falling Water, all of which induce, to the eye, a rapture, with each color component supporting the others, yielding satisfying visuals, whether in shades of white, grey and tan, or vibrant purples, reds, greens, blues and oranges. The second, more likely than not, is composed of conflict seeking resolution not within sight of attainment. These rooms are best described as Abstract Expressionist decorating schemes and, indeed, are driven, perhaps even dominated, by the inclusion of art works of the last fifty years, which are themselves invocations, often brilliant, of irony and cacophony. The same may describe the furnishings, including the textiles and rugs. Eclecticism, which is to say juxtaposition, reigns; these interiors are provocative in the deliberate dissonance of their elements. The examples given above are of exceptionally sophisticated, private, even elite spaces. But what of the HYLAND