Into this stew of styles, Steinberg tossed in handwriting, which became one of his most famous art forms. In the mid-1940s, he had begun to evolve an elegant, but purposely unreadable, calligraphy with which he manufactured false documents—fake certificates, diplomas, passports, and licenses—whose illegibility deprives officialdom of its self-proclaimed authority . By the 1950s, the “handwriting” had matured into such eye-fooling illusiveness that viewers labored to decipher it (they still do). Some of these documents he gave to friends, others he exhibited in gallery shows. But with their added stamps, seals, and pseudo-photographs, they also echo Steinberg’s fraught effort to acquire the visas and permissions that enabled him to escape Fascist Italy and, ultimately, enter the United States.