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artistic dreams.'" Silverman concludes, "The artist, never purged from the interior of Doctor Charcot, unwittingly brought fantasy, memory, and dreams into the concretion of private space." The analogy between Charcot's understanding of the inner world of the female nervous system and his concerted creation—with a female enclave—of an idealized, private interiority in domestic life is not lost on Silverman, as I believe, in less esoteric terms, it was not lost on Clarence Cook. "Designing Modern Women," despite its dearth of material on interior decorators, breaks new ground in highlighting Installation view of Designing Modern Women 1890-1980. © The Museum of Modern Art, New York. Photograph: Thomas Griesel. HYLAND