Throughout nearly sixty years contributing cartoons and more than ninety covers to the New Yorker, Saul Steinberg blurred the boundaries between cartoons and fine art. In Sam's Art, Steinberg portrayed himself as Uncle Sam, one of his favorite Americana motifs. A Romanian-born Jew trained as an architect in Italy, Steinberg came to the United States during World War II and pursued drawing as a "way of reasoning on paper." His thought process appears here as a jumble above his head, not yet applied to the blank canvas. Official-looking pictorial forms, including formal (but illegible) script, bald eagles, and Masonic pyramids from the back of the dollar bill raise issues about governmental authority, immigrant identity, and assimilation. As an immigrant, Steinberg was keenly aware of the "the voyage between perception and understanding" and believed that displacement was, in fact, "the tradition of the artist."