"Eye for Design," the Museum of Arts and Design's survey of mostly Sixties- and Seventies-era exhibition catalogs and ephemera mined from the museum's collection (most of it coming from its former iteration, as the Museum of Contemporary Crafts). Though the work here feels staunchly of-its-moment, much of it still exudes a whimsy that's timeless: Linda Hinrichs chose a quilt featuring columns of voluptuous lips to add a flirtatious edge to the 1976 "New American Quilt" catalog, while Emil Antonucci offered up a lively smorgasbord of kitchen tools — knives, skillets, blenders, and more — for the cover of 1972's "Objects for Preparing Food."
Photo: "Woven Forms" (detail), 1963, Sam Richardson. Courtesy American Craft Council Archives
Once Max Miedinger and Eduard Hoffmann unleashed Helvetica in 1957, it was only a matter of time before that font epitomized the visual language of corporate sleek. But even as minimal became the new maximal — in graphic design as well as with typefaces — holdouts stuck with the jaunty and the handmade. Witness the counterrevolution in