Bringley is assigned to the Greek section on a Sunday morning after working long shifts. He describes the physical environment, noting the marble floors, the stanchions, and a “guard mark” on the wall where countless guards have leaned. He’s positioned in a gallery featuring art from the Archaic period, with a view of New York City outside.

The author pays particular attention to a statue called the New York kouros. He reflects on the statue’s significance as one of the first freestanding nude sculptures, representing a mortal man rather than a god or king. Bringley ponders the statue’s blend of godlike beauty and human vulnerability. During his break, Bringley attempts to articulate the Kouros’ meaning, noting its verticality, nakedness, and representation of human mortality. He connects the statue to broader Greek concepts of life, death, and the cosmos.

The chapter then shifts to an interaction Bringley has with teenagers working on a school assignment about ancient Greek beliefs. He offers them insights into the concept of “epiphany” in Greek culture, using the Medici Athena sculpture as an example. Bringley emphasizes the importance of engaging directly with art rather than merely learning about it.