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The first image in the new show of Richard Avedon photographs at the Metropolitan Museum of Art, the picture that visitors will come upon as they enter, is not just the earliest, dating from 1947; it is also the happiest. A small Sicilian boy in a pale cap, his jacket buttoned tight across his chest like the trademark of a vaudeville patsy, stands and delivers his best grin. There is something formal--not fixed, but maybe too decorous for mere cheek--in the width of his smile, and you notice the hands clamped firmly to his sides. It is unlikely that he has been ordered to radiate pleasure (Avedon is not his uncle, or a fearsome aunt, and this is no family snap), but that ...