As almost-always, The New Yorker gets the alternative view:
Amanda Petrusich’s account is equally worth the visit:
High noon on the day after a Presidential election: historically, a moment in which political signs are dislodged from lawns in either satisfaction or disappointment, not freshly planted in them. And yet on Wednesday morning the artist Nina Katchadourian, known for her intelligent explorations of systems—sorting, mapping, charting, coding, arranging, translating—was preparing to complete her latest showing of “Monument to the Unelected,” a collection of fifty-eight lawn signs touting the campaigns of those who ran for the country’s executive office and lost, from John Adams (1796) to Mitt Romney (2012). The installation had gone on display on the front lawn of the Lefferts Historic House, in Prospect Park. Now Katchadourian had a new sign to add to the scrum, and it was not the one that many of those gathered with her in the park hoped it would be.
This side of the Atlantic, I have a very disappointed daughter. Her Hillary 2016 tee-shirt, proudly worn around London for the last couple of weeks, after undermining the US diktats against alien support, has to join the 20o8 iteration as another failed vaunt that gender equality was reaching presidential status.
The Pert Young Piece will be around in 2020, 2024 and so on. She’ll be proclaiming her same partisan allegiance, and — with luck and some sanity in the Democratic Party — a similar gender bias.
How does Elizabeth Ann Warren fit?
Failing which, I have an American-born grand-daughter — tough as old boots (you should see her as an inside forward on the soccer field) — who should be coming ripe about three decades on.