What would Sigmund Freud discern from psychoanalysis of the Community Collection? Assuming that roughly two hundred works of art might represent us collectively  could he put us retroactively “on the couch” and derive some community-wide profile? Even if he could  would we want to see it? In that unlikely context  Gladys Best’s watercolor of the 1930s—a vignette of British cityscape before the ravages of WWII and postwar urbanization—reinforces a sense of retrospection  of longing for the civility and simplicity of our lost youth