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nado over Kansas is viewed as a sequel to Curry's 1928 Baptism in Kansas, though the former is considered visually and psychologically more dramatic than the latter. The two works share similar settings, and in both, crowded groups of figures in the foregrounds create a sense of claustrophobia (which Curry suffered from) while the near empty backgrounds evoke agoraphobia. Further similarities can be found in their fundamental shape patterns: inverting the water tank and windmill in Baptism in Kansas results in a "spiraling form" that resembles the tornado in Tornado over Kansas. Reception and provenance The painting was met with universal critical acclaim when first exhibited in 1930 at the Whitney Studio Club where it won a second-place award. It received another second-place prize at the 1933 Carnegie International exhibition in Pittsburgh. A 1931 exhibition at a show of Curry's work in Wichita, Kansas, was less successful. Two years l ater, a Time article on the exhibition described Curry's tornado as a "giant cornucopia" and wrote that Kansans found the painting "uncivic". Marling explained this negative reaction, writing that locals did not want to see "[their state exposed] to opprobrium on account of a twister or two", especially by an artist native to the state. For example, Elsie Nuzman Allen—the art-collecting wife of former Kansas governor Henry Justin Allen—complained that Curry painted cyclones and other "freakish subjects" instead of "the glories of his home State". In 1934, Time magazine featured a color reproduction of the painting as part of an article on the contemporary U.S. art scene. It described Curry as "the greatest painter of Kansas" and Tornado over Kansas as one of his most famous works. The article did note that many Kansans were irritated by his paintings, as they believed that the subject matter " best left untouched." Due to the magazine's readership of 485,000 during the 1930s, Time helped give Regionalist works a national audience while also eliciting resentment among some over the art movement's sudden popularity. For example, the American modernist painter Stuart Davis objected to Time's portrayal of Tornado over Kansas and other Regionalist paintings. In 1935, Davis even accused Curry of behaving "as though painting were a jolly lark for amateurs, to be exhibited in county fairs." Those who agreed with Davis included critics, historians, and even some of Curry's own friends who considered his paintings to be "labored", "conventional", or "embarras