Charles Sheeler was more adequately represented than Hartley with five paintings in Gallery D, including two landscapes and two flower studies. Landscape (left) shows his early interest in what would later be called Precisionism, a style that drew from Cézanne's emphasis on combining a limited number of forms and colors to create a harmonic whole. Mountains, sky, ground and trees all contribute to the overall geometric unity of the piece.
Kathleen McEnery was one of the few American artists in the Armory Show to choose the female nude as a subject for non-allegorical study. Her striking Going to the Bath greeted vistors to Gallery D with its strong lines and simplified perspective and color. Along with McEnery's nudes, Marguerite Zorach's Study, unlocated and probably destroyed, received some of the only commentary given to previously unreviewed American artists. McEnery was not unknown in New York art circles; she had exhibited in with the Independents in 1911. Zorach, however, had just arrived in New York early in 1913 but had shown her work in Los Angeles several months earlier. Zorach had previously studied in Paris with a British fauve-inspired instructor, John Duncan Fergusson, and contributed to his group's little magazine Rhythm several years before the Armory Show. Zorach's work in the show was unusual among the fauve paintings at the exhibition. Unlike the works of Charles Camoin, Albert Marquet, and Alfred Maurer hung in the Armory, Zorach's entries included a figure study. Her choice may explain the attention given to her worksimilarly, Matisse's most chronicled technique was his unconventional treatment of human forms.