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(Look: Sorel even gets the rocker's shoes right. In his first cover for The New Yorker, which happened to be Tina Brown's inaugural issue, Sorel pictures a barechested, pink-Mohawked rocker arrogantly draping himself on the seat of a horse-drawn carriage.

The special quality of Sorel is that he captures our zeitgeist as few artists have, and fells his victims with the rapier of irony rather than the blunderbuss of satire. And best of allonce the handkerchief is pocketedthinking. He leaves the viewer weeping and laughing.

Together, the smile and the sigh, the wit and the mordancy make him one of the supreme caricaturists of our time. Is that expression a grin or a grimace? As it happens, it's both. If you think Mona Lisa's smile is enigmatic, take a good look at this photograph of Edward Sorel.