The 1960s brought sweeping changes throughout America, and this included changes to women’s education. The Civil Rights Movement provoked a reassessment of the role of women in society. Many universities were reaching the conclusion that they could not, and should not, remain the restricted domains of male education. In 1963, Fordham began admitting women, as did Yale in 1969. While providing greater opportunities for women, these developments also presented new challenges for those colleges catering solely to female students. They now had to meet an ever-increasing operational cost and the loss of their monopoly on female applicants. Prospective students now looked at coeducational schools like nearby NYU or Sarah Lawrence College. Finch College was also negatively impacted through media coverage. Tales of Finch girls like Grace Slick or Jane Holzer, who joined anti-establishment rock bands or became muses for revolutionary artists like Andy Warhol, turned a nice profit for the papers, but did not enhance the school’s standing. News articles about the school oft focused on high tuition and “fluffy” academics. When Hunter College and Marymount Manhattan College became coeducational, Finch found itself competing with Barnard for the women-only market in the city.

When the Interborough Rapid Transit Company opened to the public in 1904, there was an active effort to beautify the underground stations and its metal vessels in order to ease the anxieties of riders who were hesitant to travel throughout the unknown. The initiative to beautify included the presence of a variety of posters presenting transportation etiquette and advertising products and services as a way to capitalize on the fact that passengers spent an average of fifteen minutes in a train car during their commute. Among the advertisements for Viceroy Cork Tipped Cigarettes, Rheingold Lager Beer, and Heinz Cream of Tomato Soup, were a series of in-car posters that helped riders navigate the subway to visit some of New York City’s most scenic wonders. This series was called The Subway Sun.

The Power Keys

Exhibition Review, “Robert Caro’s the Power Broker at 50” and “‘Turn Every Page’: Inside the Robert A. Caro Archive,” New-York Historical Society.