Through the great equalizer of time, a once-fashionable porcelain mannequin's head is wedged in amongst a smattering of utilitarian household objects in a second-hand shop window display. Probably a milliner's display head sporting a chic, bobbed hairstyle, the ceramic face stands in silent witness to the cluttered fate of the culture's cast-offs during the Great Depression. Walker Evans was frequently drawn to such incongruous, surreal scenes, in which an unlikely element appears out of its original context and thereby assumes a new relationship to the objects around it.