Complementing Redon's work was that of Edward Munch, whom Kuhn secured for the show after the Sonderbund exhibition. Munch's woodcuts and lithographs revealed the potential of these two graphic mediums. His emotionally charged portrayal of ecstasy can be seen in Madonna, while Kiss and Vampire illustrate two diametrically opposed visions of desire.
John Marin's watercolor series of Manhattan buildings received more attention than the work of any other American artist at the Armory Show. The recently completed Woolworth Building (the lights were first lit on April 24, 1913), which reigned as the world's tallest building from 1913 to 1930, was Marin's focus for the series. Marin's work, some of the most concentrated studies at the show, appeared at Stieglitz's gallery from January 20th to February 15th just before the Armory exhibition. They were discussed at length in The Forum by W. D. MacColl as well as in the New York American by Alfred Stieglitz. His Woolworth series was taken as a futurist rendition of New York, and the impact of his formal treatment of the New York skyscraper can be seen in a number of Armory Show parodies.