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Petroleum and Risk Management in the Gulf South by James B. McSwain (review)

had watched their life together first hand. This book’s thirty-three chapters are organized into five parts (The Museum Imagined, The Old World, War, New Frontiers, and A Very Strong Woman). Middleton’s writing style is accessible; whether you are a connoisseur, art historian, or just interested in Houston history, you will enjoy this text. His organizational system makes it relatively easy to search for topics by chapter. There are black and white images imbedded throughout the text where appropriate, with some particularly interesting early images of both Dominique and John’s families, as well as pictures of the two in their adolescent years (color photographs and images of artwork are isolated in two separate sections). For the most part, the chronological trajectory aligns with Dominique and John’s life, except for part one, which begins with the origin story and the groundbreaking of the Menil Collection—an astute decision on the writer’s part to draw the reader in with the ultimate, familiar collection and then dive deeply into the history, biography, and meatier sections of research. Middleton’s account is clever and fascinating, rich in historical facts that both seasoned and novice readers will appreciate. Although his subjects are no longer with us, he recounts their stories with a spirited flair, giving life to their names and attesting to the continued relevance of their philosophical, religious, and artistic beliefs. Dominique and John’s presence resonates as you read Double Vision. We are reminded, through his account of two “Art World Avatars,” of our responsibility to humanity and of how little has changed over the years, how far we have to go, and the spectacular role art plays in nurturing our very existence.