At the end of the Edwardian Era, Fair Women was reincarnated annually by the International Society of Sculptors, Painters & Gravers (International Society). The timing of Fair Women was indeed contentious and resulted in debate in the press around its portrayal of modern womanhood. Angus Trumble and Andrea Wolk Rager have drawn attention to the Edwardian period’s marked dualities, encompassing ‘nostalgic longing and revolutionary modernity’. The political context of the women’s movement in the process of fomenting mass agitation makes the International Society’s decision to redeploy the title Fair Women seem extraordinary, yet the phrase and indeed exhibition concept had remained continuously in the popular press since 1894. The history of early twentieth-century modernism in Britain has tended to focus on the groups of artists that emerged during this period. The New Gallery consisted of a great central hall overlooked by a second balcony exhibition space.