The resulting portrait is documentary but also beautiful, if "beauty," as British philosopher Roger Scruton wrote, is what "demands to be noticed." Throughout his career, Hine made stunning pictures of human faces. Twelve-year-old Rob Kidd, the subject of "Carrying-in Boy, Glassworks, Alexandria, Virginia" (1911), presents one of the haunting faces in the "Children at Work" section. These pictures were taken for the National Child Labor Committee (NCLC), and they brought the photographer wide recognition. Hine, who had a graduate degree in sociology, made careful notes about his subjects, so we know that "Sadie, a Cotton Mill Spinner, Lancaster, South Carolina" (1908) is 9-year-old Sarah "Sadie" Phifer, and that when the picture was taken she had been working 11-hour shifts at the mill for a year and a half and was paid 48 cents a day. She was 4 feet tall; Hine measured the children against the height of his jacket's buttons. The NCLC later used Hine's work when it successfully lobbied Congress to pass the Fair Labor Standards Act in 1938. The subjects in "The American Worker" section are identified by sex, occupation and, occasionally, ethnicity. Hine had toiled several years at various menial jobs before going to college and so had sympathy for people who labored. The woman in "Scrublady, New York" (1920) is on her knees cleaning the tile floor with a rag; her face is turned away but we sense her weariness in the arch of her back. "Irish Steel Worker, Pittsburgh" (1908), "Young Trackwalker, Pennsylvania Railroad" (1920) and "German Steel Worker, Pittsburgh" (c. 1908) are part of a group of six portraits in which the subjects paused from their work to present themselves to the camera. The museum uses the well-known "Powerhouse Mechanic" (c. 1920-21) to advertise its exhibition; the young man's tensed arm muscles are parallel with one of the inert spokes on the machine he services. Hine devoted his career to documenting the dignity of labor and the contribution of immigrants, themes that explain his photographs' continuing pertinence. "Empire State Building Construction," the fourth section, has only three pictures from what was to be his final project. The building, a classic of American architecture and engineering, was the tallest in the world by the time of its completion; Hine photographed the men erecting it as it went up floor by floor, shooting the 100th from a bucket.