The Forum Exhibition of Modern American Painters of 1916 became the occasion for Georgia O’Keeffe to encounter the pastels of Arthur Dove. By 1918, O’Keeffe became romantically involved with Alfred Stieglitz, who introduced her to Dove. In fact, the history of the parallel examination of their oeuvres is almost as long as the history of their association; as early as 1920, critic Paul Rosenfeld paired Dove and O’Keeffe in a metaphorical coupling, characterizing Dove to be “ever the man in painting and O’Keeffe ever the woman,” in an article in the Dial. Throughout the 1920s and until 1929, when O’Keeffe left New York for New Mexico, their imagery became increasingly consonant, and by the 1930s, they both owned several of each other’s works. As Dove scholar Debra Bricker Balken has noted, O’Keeffe’s purchase of six watercolors by Dove—his “self-portraits” or “revelations of his interior life” —“continued the symmetry of their mutual enthusiasm for each other’s work.”