Robert Henri's hope for the Armory Show, that "for every one French picture that is sold, you sell an American one," was not realised (Perlman 109). However, some of the younger uncelebrated American artists faired well monetarily at the exhibition. Edward Hopper's one entry, Sailboat, was his first sale and his only for many years. Edward Adam Kramer, a relatively obscure artist now and at the time of the Armory Show, was well represented in Gallery M. Along with Edith Dimock and Robert Chanler, he was one of the most financially successful Americans at the International Exhibition. His work at the Armory seems punctuated by sleepy, tranquil landscapes with titles like Dawnlit, Meditation, Quiet and Unseen and The Wood, Deep and Quiet.
Gallery M expressed the breadth of American styles, ranging from the realist cityscape, Terminal Yards, of Leon Kroll to the allegorical nude, Wisdom and Destiny, by Henry Keller. American Impressionism was represented by the work of Karl Anderson and G. Ruger Donoho. Anne Goldthwaite's The House on the Hill shows the influence of Cézanne critics would see in her work for years. Her work resonates with his Hill of the Poor purchased by the Metropolitan Museum of Art during the Armory Show. Goldthwaite helped organize the Académie Moderne in Paris, led by Charles Guerin and Othon Friesz, and later became known as an American Scene painter for her portraits of African-Americans in her home state of Alabama.