Last week we reported on the New Yorker Magazine's "Censored" art exhibition and the removal of certain pieces. C.S. Ledbetter III, the New Yorker Gallery's curator writes us to set the record straight. I wouldn't know "aesthetic coherence" from a hole in the wall but apparently it's not "censorship" when it's called "curation."

Dear Gawker:

In regard to your entertaining item on The New Yorker Gallery's current exhibition, "Censored," I thought you might appreciate a clearing up of one or two points that might given your readers a mistaken impression of the gallery and its most recent opening. Far from being a refuge for forgettable staff art, as you suggest, The New Yorker Gallery regularly exhibits some the finest art now being produced. The "Censored" exhibition includes work by such artists as Pierre Matter, Mauro Corda, and Sylvain Tremblay, all of whom are extraordinarily well-regarded artists, with international reputations. Of the more than two dozen artists included in the current show, only three are members of The New Yorker's staff, and those three are highly trained and gifted practitioners in their respective genres.

Decisions to remove certain works prior to the show were made by the curator, in consultation with his associates. These decisions had to do with matters of aesthetic coherence and the peculiar topography of our space.

Thank you,

C.S. Ledbetter III, curator
The New Yorker Gallery