Picasso, with five paintings and one sculpture in Gallery I, went suprizingly unnoticed in the press. Armory Show organizers were faulted for dividing up his paintings, but the main problem seemed to be their choices for the show. His most striking works in the exhibition are Woman with a Mustard Pot and his sculpture Female Head; none of his prototypal cubist works made it to the Armory. Picasso had stopped exhibiting in large shows in Paris, but the Sonderbund and Second Grafton Galleries exhibitions featured him with 16 paintings apiece. Although Picasso had been championed by Stieglitz in 1909 and his work had been reproduced alongside Gertrude Stein's portrait of him in Camera Work in 1912, the general public hadn't seen his work and most didn't recognize the neglect.
Marcel Duchamp, Raymond Duchamp-Villon, and Jacques Villon were the only three contemporary artists to be given a short biographical sketch at the Armory Show. A photograph of the brothers was also included in the Armory Show catalog. Milton Brown notes the unprecedented sales of the three artists, perhaps incited by the "publicity given to them in the press as a family of avant-garde artists; pictures of them in their garden at Puteaux were the only photographs of European artists distributed by the Association to newspapers and were used in stories and Sunday supplements" (Brown, Story 135). All were quite financially successful at the show; Duchamp's paintings and his one sketch were all sold, two to Arthur Jerome Eddy. Duchamp-Villon's sculptures sold to John Quinn and Arthur B. Davies, and eight of Villon's nine entries were purchased. One of the Villons caught the eye of Walter Arensberg on the last day of the show in Boston. Arensberg eventually acquired six of the works in The Cubist Room (all of Duchamp's and two of Villon's), which are now in the Philadelphia Museum of Art.