The 1964-1965 New York World's Fair was not an official international exposition, but rather an ambitious outlier, an enterprise designed to turn a profit, led by Robert Moses, the legendary unelected powerbroker credited by many with planning and shaping the physical infrastructure of New York City at mid-century (Caro 1975). According to the BIE rules, no approval was to be given for a ‘world expo’ in a country that had hosted one within a single ten-year period; as the Seattle World's Fair had been sanctioned for 1962, a New York fair commencing in 1964 was never going to receive international recognition. Ostensibly meant to commemorate the 300th anniversary of the founding of New York City, Moses’ fair was remembered more as a celebration of American consumer culture than as a truly international event. While the over-enthusiastic Moses initially projected 70 million attendees (Grutzner 1960), 54 million passed through its turnstiles over its two years of operation (Samuel 2007, p. 199). It remains the most well-attended fair in US history and is remembered for its sunny, optimistic orientation and embrace of a future where progress was presented as unending, particularly in the interactive displays in the huge and expensive corporate pavilions that offered glimpses into a utopian future characterized by ever increasing leisure, comfort, and ease. Lawrence Samuel characterizes it as the ‘final gasp of American innocence, the last time and place in which the harsh realities of the mid-1960s could be ignored on such a large scale’ (2007, p. xviii), the capstone of ‘the American century’ famously prophesized by Life magazine publisher Henry Luce in 1941.