Ezra Stoller's ‘first photograph that ever amounted to anything’ was of Alvar Aalto's Finnish Pavilion at the 1939 New York World's Fair. Aalto was just forty-one years old at the time and soon he — like Gropius, Breuer, Mies, Mendelsohn and so many other German architects and artists — would escape the war in Europe by moving to America. Most of them stayed on, preaching their message in major universities, and finding in this ‘land of hyperreality’ fertile ground for the manifestation of their architectural beliefs. They and their followers —together with the immigrants Saarinen and Kahn and, most importandy, the all-American master Frank Lloyd Wright — furnished Ezra Stoller, himself the son of immigrant parents, with an architecture and a ‘way of seeing’ comparable to his abundant talent and intelligence.