Marks and traces of a search for an ideal place for art and education to grow together live in the boxes of the papers of Victor D’Amico, founding Director of Education at The Museum of Modern Art (1937–69). During D’Amico’s tenure, MoMA’s Committee on Art Education gathered artists, teachers, and other cultural workers who had taken art education to places such as a forest in Manhattan or a settlement house in the Lower East Side. The influence of the committee would put Art Education at the heart of MoMA for a few months, this time through its garden. Simultaneously, some members of the Committee (configured as the Institute of Modern Art) would move beyond the museum building to identify an unlikely place for art education: a World War II Navy Barge, affectionately known as the Art Barge. In each case, the tension between visibility and refuge conformed the central debates in art education. The Victor D’Amico Papers archival boxes house the materials needed to draw a geography of sorts, a map of attempts to (re)place art and education. In this chapter, I sketch out several of these flights or detours which, though quite diverse, all shared the common purpose of searching for ideal spaces in which art education flourished and could become a catalyst for social connectivity.