"In February 1971 a major retrospective of W. Eugene Smith's work opened in New York with a title chosen by him, "Let Truth be the Prejudice." The exhibit was immediately hailed as a "a great photographer's spiritual autobiography" (Village Voice), with images that sparked the electrifying tension "between the 'still' nature of the medium and the almost uncontainable momentum of the emotion it captures" (New York Times). Smith and Aileen Mioko Sprague supervised the exhibit's move to Tokyo that same year, where this portfolio was issued with its striking assemblage of 16 exhibition-size photogravures. Here Smith's finest work is seen in the iconic "Spinner" and "Death Scene" from Spanish Village (1950-51)—"long considered a classic" (Hughes, 7)."
