Erotic poet, writer of shocking manifestos, accomplished visual artist, modernist “it” girl, stunning beauty, sexually-liberated feminist, tragic and heartbroken wanderer: Mina Loy was all of these things. With hundreds of appearances in the letters, memoirs, and photographs of many of the greatest minds of the twentieth century, where did Mina Loy disappear to in the decades between then and now? In her day, Loy was ubiquitous in artistic circles. One of Loy’s poems, “Brancusi’s Golden Bird,” appeared with T. S. Eliot’s “The Waste Land” in the November 1922 issue of The Dial magazine. Her visual art was shown alongside Paul Gauguin’s in the 1906 Salon D’Automne in Paris. She acted in the play Lima Beans with a fan of her work, William Carlos Williams, and Ezra Pound complimented Loy’s writing in the same breath as Marianne Moore’s. Gertrude Stein, in The Autobiography of Alice B. Toklas, identifies Loy as always “able to understand.” Loy was friends with Marcel Duchamp and Man Ray, she was inspired by her friend Joseph Cornell’s boxes of found objects in her own work, and she wrote the book Insel about her relationship with surrealist painter Richard Oelze. Encountered today, Loy’s work as a poet and manifesto writer, a painter and assemblage artist, a creator of exotic lamps, moves viewers and readers emotionally and challenges them intellectually. So where has Loy been all our lives?