If the museum can't do critical theory, "High & Low" made clear, it can set the stage for it with sublime skill, not allowing for the triumph of "moderate good sense" (as Crow sketched the curators' aims), but rather demonstrating its ultimate folly--at least, that is, when it comes to questions of high and low.
In a brief 1931 article, the curators explained, Agha described the movement between high and low as resembling that of a wheel, in which forms move continually forward by shifting from one side to the other and back again, resembling, in Varnedoe and Gopnik's words, a "revolving comedy of manners."
At the end of both the high and low threat messages was the same list of recommended behavior: using sunscreen, wearing a protective hat and clothing, minimizing sun exposure at midday, and performing periodic skin self-examination.
Therefore, the results of susceptibility, severity, and fear-manipulation checks indicate that the high and low threat messages produced significantly different perceptions of threat and fear.
No difference was found between high and low threat-condition participants in terms of their perceived objectivity of the messages.