(W/A/CA) Steven Brower The legacy of Grove Press is well known within literary circles - how Barney Rosset bought a fledgling but failing publishing company in the early 1950s and changed the world of letters in America, and perhaps the very culture as well; Grove Press brought to national prominence the writers, art, and artists of the avant-garde. Such groundbreaking works as Waiting for Godot by Samuel Beckett, Last Exit to Brooklyn by Hubert Selby and Naked Lunch by William Burroughs represented a literary vanguard. Equally innovative, and ultimately as influential, Grove Press book covers reflected not only the work inside, but also the prevailing zeitgeist. The iconoclastic writing was echoed in the packaging, a marriage of imagery and the written word that had not been seen before, or, perhaps, since. The covers, the work of a young artist named Roy Kuhlman, who arrived on Grove's doorstep in 1951, contributed invaluably to the company's image as a distinguished and innovative publishing house. Before long, the inventive, two-and-three color covers featuring Kuhlman?s abstrac