Under Article 291 of the Capital Requirements Regulation (CRR) , institutions must monitor "Wrong-Way risk" in financial transactions.

Article 291 of the Constitution of India (repealed in 1971) formerly guaranteed the payment of "privy purses" to the rulers of former princely states.

Stieglitz used 291 to host the first American exhibitions for legendary European artists who would redefine 20th-century art. This included: (1908) Pablo Picasso (1911) Francis Picabia (1913) Constantin Brâncuși (1914)

Long before New York City was the undisputed capital of the art world, a small attic space at served as the catalyst for a cultural revolution. Known simply as "291," this gallery was more than just a showroom; it was a "living force" that introduced the American public to the radical spirit of Modernism. The Little Galleries of the Photo-Secession

Founded in 1905 by Alfred Stieglitz and Edward Steichen, the space originally opened as the Little Galleries of the Photo-Secession

The gallery closed in 1917, but its influence remained. Artists like Marsden Hartley described it as a "pure instrument" that allowed for the purest form of expression. Today, 291 is remembered as the birthplace of the modern art movement in the United States—a place where, in the words of William Zorach, people brought "their finest" and discovered the finest within themselves.

In 1915, the gallery’s spirit was captured in a monthly magazine also titled . It was an experimental publication that pushed the boundaries of layout and typography. Notable for its "visual poetry" and mechanomorphic portraits by Francis Picabia, the journal was a precursor to Surrealism , often exploring the human subconscious and the intersection of art and machinery. Legacy of the "Pure Instrument"

. Its initial mission was to champion photography as a fine art, but it quickly evolved into a laboratory for avant-garde experimentation across all media. A Gateway for European Masters