Q. and babies? A. and babies.

produced by the Art Workers Colaition in 1969, And Babies is a prime example of the power the juxtaposition of text and image can have. The simplicity of the poster, produced initially for the museum of modern art but pulled by the owners, means that the message is absolutely clear. Yet the choice of text does not patronize or demonize as many protest posters can.
The text itself is from a CBS news interview with a Vietnam soldier on the subject of the massacre of civilians.

Q. So you fired something like sixty-seven shots?
A. Right.
Q. And you killed how many? At that time?
A. Well, I fired them automatic, so you can’t- You just spray the area on them and so you can’t know how many you killed ‘cause they were going fast. So I might have killed ten or fifteen of them.
Q. Men, women, and children?
A. Men, women, and children.
Q. And babies?
A. And babies.

The question and answer are only differentiated by punctuation, making the viewer say the words in the there head, using there internal voice in order to understand them, and possibly meaning they are thought about more.

Roy Voss

Bringing to written word into an outdoor environment, especially a rural one, is something that I have dabbled in in my work and have found hard to judge right. Ross does it extremely well, using text to provide a cation for a scene. in cross the caption is very much a part of the environment it is in, seemingly like a bridge, its function and form literally being the same.

In legless the caption is more like a traditional humorous tag line, but the words actual physicality in the scene make it more bizarre. we know that the words must have come before the sheep sitting around it - maybe it is this knowledge of Voss waiting for the sheep to sit around his sign that makes it funnier? or is the tag line some how more authoritative with the knowledge that it exists in reality?