Morning in a City, 1944, Morning Sun, 1952, A Woman in the Sun, 1961. The erotic suspense in these scenes derives from the absence of a partner, which tempts the viewer -male certainly, female perhaps - to assume the role and enter a stranger's story. Hopper's women are vulnerable, marked by disappointment, in need of protection. Yet they still seem to harbor hopes and expectations. We have the impression that there is something undefined, perhaps unnamable, but at least beyond our comprehension, to which they wish to surrender themselves. A woman turns to the rising sun, opens herself to the ultimate source of light - reminding us that nature extends even into the most desolate corners of the city.