Arriving in New York City in the first decade of the twentieth century, six painters faced a visual culture that depicted the urban man as a diseased body under assault. Robert Henri, John Sloan, Everett Shinn, Glackens, George Luks, and George Bellows-subsequently known as the Ashcan Circle-countered this narrative, manipulating the bodies of construction workers, tramps, entertainers, and office workers to stand in visual opposition to popular,...