Painting by Henri Rousseau: The Dream (French: Le Rêve, occasionally also known as Le Songe or Rêve exotique) is a large oil-on-canvas painting, one of more than 25 Rousseau paintings with a jungle theme. His last completed work, it was first exhibited at the Salon des Indépendants from 18 March to 1 May 1910, a few months before his death on 2 September 1910. Rousseau's earlier works had received a negative reception, but poet and critic Guillaume Apollinaire remarked on its debut: "The picture radiates beauty, that is indisputable. I believe nobody will laugh this year." The Dream is the largest of the jungle paintings, measuring 6' 8.5" × 9' 9.5". It features an almost surreal portrait of Yadwigha (Jadwiga), Rousseau's Polish mistress from his youth, lying naked on a divan to the left of the painting, gazing over a landscape of lush jungle foliage, including lotus flowers, and animals including birds, monkeys, an elephant, a lion and lioness, and a snake. French art dealer Ambroise Vollard (the same Vollard who purchased 250 paintings from Cézanne for 50 francs each) bought the painting from Rousseau in February 1910

Painting by Pablo Picasso: Girl with a Mandolin is an early example of the artist's analytic cubist style. By the winter of 1909/10 Picasso's pictorial language had already become increasingly hard to decipher. He was steadily divesting his paintings of mere likeness, not that this was synonymous with a progressive elimination of the subject: his paintings were becoming more abstract but not entirely so.

Painting by Georges Braque: The Portuguese

painting by Wassily Kandinsky: Composition IV is the fourth of a series of paintings that explore the artist's attempts to represent the structure and form of music through the medium of painting. The painting measures 62 7/8 × 98 5/8 inches, and it is in the Hermitage Museum in St. Petersburg, Russia. It was made using oil paints on canvas.

Painting by Giacomo Balla: Dynamism of a Dog on a Leash (Italian: Dinamismo di un cane al guinzaglio), sometimes called Dog on a Leash or Leash in Motion, depicts a dachshund on a leash and the feet of a lady walking it, both in rapid motion as indicated by the blurring and multiplication of their parts. It is considered one of his best-known works, and one of the most important works, in Futurism. Chronophotograpic studies of animals in motion, created by scientist Étienne–Jules Marey beginning in the 1880s, led to the introduction in painting of techniques to show motion, such as blurring, multiplication, and superimposition of body parts — perhaps in an effort to imitate these mechanical images. Such multiplication can be see in Marcel Duchamp's Nude Descending a Staircase, No. 2, painted the same year as Balla's painting. Balla's interest in capturing a single moment in a series of planes was inspired by his fascination with chronophotography. In later, more abstract works created during World War I, Balla used planes of color to suggest movement.

Painting by Marcel Duchamp: Nude Descending a Staircase causes an uproar at the 1913 Armory show in New York City. In interviews, Duchamp suggested that he had been influenced by seeing stop-motion images and that his aim was to achieve " a static representation of movement, a static composition of indications of various positions taken by a form in movement." In a New York Times review, an art critic described the painting as resembling "an explosion in a shingle factory."

Painting by Ernst Ludwig Kirchner: Street, Berlin shows Berlin in 1913,` before the outbreak of World War 1. At this time, Kirchner painted several different street scenes that illustrated the chaos of city life and the relationship between men and women. The mass of men in the background do not have any identifying features, but instead appear as a copy of each other. Their clothes flow into one another and their non-distinct facial features cause you to connect with the women because they are the only two with a sense of identity. Kirchner uses some anti-naturalistic color in this piece including the skin of the figures which varies between shades of pink and orange as well as the blue and pink shades in the scenery. The anti-naturalistic tones are common in the German Expressionism and his other work during this time period.

Painting by Georges Braque: Woman with a Guitar. A relatively large painting it is 130 cm by 73 cm, and utilised both oil paint and charcoal. While the painting is abstracted the basic subject can still be seen towards the top in the feminine mouth and eye, as well as the brown trapezoid shape containing the strings of a guitar.

Painting by Umberto Boccioni: Dynamism of a Cyclist (Dinamismo di un Ciclista) demonstrates the Futurist preoccupation with speed, modern methods of transport, and the depiction of the dynamic sensation of movement. Futurism was an early twentieth-century movement in Italy that sought to free the country from what the Futurists saw as the dead weight of its classical past. The Futurists were preoccupied with the technology and dynamism of modern life. The movement found its expression primarily in literature and art.

Sculpture by Umberto Boccioni: Unique Forms of Continuity in Space (Italian: Forme uniche della continuità nello spazio) is seen as an expression of movement and fluidity. The sculpture is depicted on the obverse of the Italian-issue 20 cent euro coin. The Futurist movement was striving to portray speed and forceful dynamism in their art. Boccioni, though trained as a painter, began sculpting in 1912. He exclaimed that "these days I am obsessed by sculpture! I believe I have glimpsed a complete renovation of that mummified art." The following year Boccioni completed the sculpture. His goal for the work was to depict a "synthetic continuity" of motion instead of an "analytical discontinuity" that he saw in artists like František Kupka and Marcel Duchamp.

Photograph by Alvin Langdon Coburn: Vortograph — a kaleidoscopic effect — created by placing mirrors in triangular arrangements around a lens.

Painting by Giorgio de Chirico: The Song of Love (also known as Le chant d'amour or Love Song; 1914) is one of the most famous works by de Chirico and an early example of the surrealist style, though it was painted ten years before the movement was "founded" by André Breton in 1924. It depicts an outdoor architectural setting similar to other works by de Chirico at this time. This time however, the main focus is a small wall on which is mounted a Greek sculpted head and a surgeon's glove. Below it is a green ball. On the horizon is the outline of a locomotive, an image that recurs several times during this period of de Chirico's career.

Painting by Piet Mondrian: The Ocean 5 is basically an abstracted pier that is composed of vertical lines that touch the base of the oval, which stretches into the ocean and short crosses that give the impression of light flickering on the water surface.

Photograph by Alfred Stieglitz: The Steerage has been hailed as one of the greatest photographs of all time because it captures in a single image both a formative document of its time and one of the first works of artistic modernism. Stieglitz first published The Steerage in the October 1911 issue of Camera Work, which he had devoted to his own photography. It appeared the following year on the cover of the magazine section of the Saturday Evening Mail (20 April 1912), a New York weekly magazine. It was first exhibited in a show of Stieglitz's photographs at "291" in 1913. In 1915 Stieglitz devoted the entire No 7-8 issue of 291 to The Steerage. The only text in the issue were comments on the photo by Paul Haviland and Marius de Zayas.

Work by Francis Picabia: Ici, C'est Ici Stieglitz Foi et Amour (Here, this is Stieglitz. Faith and Love) was published in 1915 as the cover of the avant-garde American journal 291. The work was one of a series of witty "machine portraits" by French artist Francis Picabia, soon to become a leading figure in the developing Dada art movement in New York City. The journal's title, named after Alfred Stieglitz's 291 Gallery on Fifth Avenue, pays tribute to the photographer's role in promoting modern art. But the symbolic portrait suggests that he has lost his momentum: it portrays its subject as a limp and broken camera striving toward, but not reaching, the "Ideal," with an automobile gearshift lodged in neutral and a hand brake engaged.

Photograph by Paul Strand:: Blind, taken as part of a series of street portraits. He used a camera outfitted with a special false lens that allowed him to point the camera in one direction while actually taking a photograph ninety degrees to the side. The result was a collection of remarkably natural and unposed photographs.

Painting by Egon Schiele: Portrait of the Composer Arnold Sch nberg (German: Bildnis des Komponisten Arnold Sch nberg)

"Sculpture" by Marcel Duchamp: Fountain. Duchamp submits this work to the exhibition of the Society of Independent Artists. The piece is actually a porcelain urinal, signed R. Mutt, 1917. The work (originally conceived as a prank) is regarded by art historians as a major landmark in 20th-century art.

Painting by Marcel Duchamp: Tu m'. This was Duchamp's last painting and was commissioned by Katherine Dreier to be hung over a bookcase in her library, hence the unusual length and frieze-like shape of the work. Executed in 1918, it is Marcel Duchamp's last painting on canvas and sums up his previous artistic concerns. Ranging across the canvas from left to right are cast shadows that refer to three "ready-mades": a bicycle wheel, a corkscrew, and a hat rack. Several objects are rendered illusionistically, such as a painted hand with a pointed finger in the lower center. Providing counterpoints to these trompe l'oeil elements are real objects: a bottle brush, a bolt, and safety pins. Duchamp summarizes different ways in which a work of art can suggest reality: as shadow, imitation, or actual object. The title lends a sarcastic tone to the work, for the words, perhaps short for the French "tu m'emmerdes" (you annoy me) or "tu m'ennuies" (you bore me), seem to express his attitude toward painting as he was casting it aside.

Joan Miró first exhibits his works.

Painting by John Singer Sargent: Gassed is a very large (7.5 × 20 feet) oil painting completed in March 1919 by John Singer Sargent. It depicts the aftermath of a mustard gas attack during the First World War, with a line of wounded soldiers walking towards a dressing station. Sargent was commissioned by the British War Memorials Committee to document the war and visited the Western Front in July 1918 spending time with the Guards Division near Arras, and then with the American Expeditionary Forces near Ypres. The painting was finished in March 1919 and voted picture of the year by the Royal Academy of Arts in 1919. It is now held by the Imperial War Museum.

Work by Marcel Duchamp: L.H.O.O.Q., was one of what Duchamp referred to as a readymade, or more specifically a rectified ready-made. The readymade involves taking mundane, often utilitarian objects not generally considered to be art and transforming them, by adding to them, changing them, or (as in the case of his most famous work Fountain) simply renaming them and placing them in a gallery setting. In L.H.O.O.Q. the objet trouvé ("found object") is a cheap postcard reproduction of Leonardo da Vinci's Mona Lisa onto which Duchamp drew a moustache and beard in pencil and appended the title. The name of the piece, L.H.O.O.Q., is a pun; the letters pronounced in French sound like "Elle a chaud au cul", "She is hot in the arse"; "avoir chaud au cul" is a vulgar expression implying that a woman has sexual restlessness. In a late interview, Duchamp gives a loose translation of L.H.O.O.Q. as "there is fire down below". As was the case with a number of his readymades, Duchamp made multiple versions of L.H.O.O.Q. of differing sizes and in different media throughout his career, one of which, an unmodified black and white reproduction of the Mona Lisa mounted on card, is called L.H.O.O.Q. Shaved.