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Art in Theory 1900 - 2000: An Anthology of Changing Ideas, 2nd Edition



Art in Theory 1900 - 2000: An Anthology of Changing Ideas, 2nd Edition

Charles Harrison (Editor), Paul Wood (Editor)

ISBN: 978-0-631-22708-3 October 2002 Wiley-Blackwell 1288 Pages

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This popular anthology of twentieth-century art theoretical texts has now been expanded to take account of new research, and to include significant contributions to art theory from the 1990s.
  • New edition of this popular anthology of twentieth-century art-theoretical texts.
  • Now updated to include the results of new research, together with significant contributions from the 1990s.
  • Includes writings by critics, philosophers, politicians and literary figures.
  • The editors provide contextual introductions to 340 texts.
  • Complements Art in Theory 1648-1815 and Art in Theory 1815-1900 to create a complete survey of the theories underpinning the development of art in the modern period.
Preface and Acknowledgements.

A Note on the Presentation and Editing of Texts.

General Introduction.

Part I: The Legacy of Symbolism.


1. Classicism and Originality.

Paul Signac: from Eugène Delacroix to Neo-Impressionism 1899.

Paul Gauguin: letter to Fontainas 1899.

Sigmund Freud: from 'On Dreams' 1901.

Otto Weininger: from Sex and Character 1903.

Max Liebermann: 'Imagination in Painting' 1904.

Paul Cézanne: letters to Emile Bernard 1904-06.

Rainer Maria Rilke: from Letters on Cézanne 1907.

Maurice Denis (intro. Roger Fry): 'Cézanne' 1907.

Maurice Denis: 'From Gauguin and Van Gogh to Neo-Classicism' 1909.

Julius Meier-Graefe: 'The Mediums of Art, Past and Present' 1904.

Giorgio de Chirico: 'Mystery and Creation' 1913.

2. Expression and the Primitive.

August Endell: 'The Beauty of Form and Decorative Art' 1897-98.

Albert Pinkham Ryder: 'Paragraphs from the Studio of a Recluse' 1905.

André Derain: letters to Vlaminck c.1905-1909.

Ernst Ludwig Kirchner: programme of Die Brücke 1906.

Wilhelm Worringer: from Abstraction and Empathy 1908.

Henri Matisse: 'Notes of a Painter' 1908.

Roger Fry: 'An Essay in Aesthetics' 1909.

Wassily Kandinsky: from Concerning the Spiritual in Art 1911.

Wassily Kandinsky: The Cologne Lecture 1914.

Franz Marc: 'The "Savages" of Germany' and 'Two Pictures' 1912.

August Macke: 'Masks' 1912.

Emil Nolde: 'On Primitive Art' 1912.

Oscar Kokoschka: 'On the Nature of Visions' 1912.

Alexander Shevchenko: 'Neo-Primitivism' 1913.

Benedetto Croce: 'What is Art?' 1913.

Clive Bell: 'The Aesthetic Hypothesis' 1914.

Carl Einstein: 'Negro Sculpture' 1915.

Hermann Bahr: from Expressionism 1916.

Hans Prinzhorn: from Artistry of the Mentally Ill 1922.

Part II: The Idea of the Modern World.


3. Modernity.

Georg Simmel: 'Metropolis and Mental Life' 1902-3.

Max Weber: 'Asceticism and the Spirit of Capitalism' 1904-05.

Vladimir Ilyich Lenin: 'Party Organization and Party Literature' 1905.

Henri Bergson: from Creative Evolution 1907.

Alexander Blok: 'Nature and Culture' 1908.

Filippo Tommaso Marinetti: 'The Foundation and Manifesto of Futurism' 1909.

Umberto Boccioni et al: 'Futurist Painting: Technical Manifesto' 1910.

Robert Delaunay: 'On the Construction of Reality in Pure Painting' 1912.

Georgy Valentinovich Plekhanov: from Art and Social Life 1912.

Franz Marc: 'Foreword' 1914.

Fernand Léger: 'Contemporary Achievements in Painting' 1914.

Percy Wyndham Lewis: 'Our Vortex' 1914.

Henri Gaudier-Brzeska: 'Gaudier-Brzeska Vortex' 1914, and 'Vortex Gaudier-Brzeska' 1915.

Ludwig Meidner: 'Instructions for Painting Pictures of the Metropolis' 1914.

Karl Kraus: from 'In These Great Times' 1914.

Kasimir Malevich: From Cubism and Futurism to Suprematism: The New Realism in Painting 1915-16.

4. Cubism.

Jean Metzinger: 'Note on Painting' 1910.

Guillaume Apollinaire: 'The Cubists' 1911.

Guillaume Apollinaire: 'On the Subject in Modern Painting' 1912.

Guillaume Apollinaire: 'The New Painting: Art Notes' 1912.

Guillaume Apollinaire: from The Cubist Painters 1912.

Jacques Rivière: 'Present Tendencies in Painting' 1912.

Albert Gleizes and Jean Metzinger: from Cubism 1912.

Fernand Léger: 'The Origins of Painting and its Representational Value' 1913.

Olga Rozanova: 'The Bases of the New Creation' 1913.

Daniel-Henry Kahnweiler: from The Rise of Cubism 1916-20.

Georges Braque: 'Thoughts on Painting' 1917.

Pablo Picasso: 'Picasso Speaks' 1923.

Part III: Rationalization and Transformation.


5. Neo-Classicism and the Call to Order.

Amédée Ozenfant: 'Notes on Cubism' 1916.

Guillaume Apollinaire: 'The New Spirit and the Poets' 1918.

Oswald Spengler: from The Decline of the West 1918.

Carlo Carrà: 'Our Antiquity' 1916-18.

Léonce Rosenberg: 'Tradition and Cubism' 1919.

Giorgio de Chirico: 'The Return to Craft' 1919.

Charles Edouard Jeanneret (Le Corbusier) and Amédée Ozenfant: 'Purism' 1920.

Albert Gleizes: 'The Dada Case' 1920.

André Derain: 'On Raphael' 1920.

Percy Wyndham Lewis: 'The Children of the New Epoch' 1921.

Juan Gris: Reply to a Questionnaire 1921.

Gustav Friedrich Hartlaub: 'Reply to a Questionnaire' 1922.

6. Dissent and Disorder.

Hugo Ball: 'Dada Fragments' 1916-17.

Marcel Duchamp: 'The Richard Mutt Case' 1917.

Tristan Tzara: 'Dada Manifesto 1918' 1918.

Richard Huelsenbeck: 'First German Dada Manifesto' 1918.

Richard Huelsenbeck and Raoul Hausmann: 'What is Dadaism and what does it want in Germany?' 1919.

Richard Huelsenbeck: from En Avant Dada 1920.

Alexander Blok: 'The Decline of Humanism' 1918.

Novembergruppe: Draft Manifesto 1918 and 'Guidelines' 1919.

Novembergruppe Opposition: 'Open Letter to the Novembergruppe' 1921.

Walter Gropius: Reply to Arbeitsrat für Kunst Questionnaire 1919.

Max Beckmann: 'Creative Credo' 1918-20.

Max Pechstein: 'Creative Credo' 1920.

George Grosz: 'My New Pictures' 1921.

Francis Picabia: 'Thank you, Francis!' 1923.

7. Abstraction and Form.

Hans Arp: Introduction to a catalogue 1915.

Man Ray: Statement 1916.

Viktor Shklovsky: from 'Art as Technique' 1917.

De Stijl: 'Manifesto 1' 1918.

Theo van Doesburg: from Principles of Neo-Plastic Art 1915-25.

Piet Mondrian: 'Dialogue on the New Plastic' 1919.

Piet Mondrian: Neo-Plasticism: the General Principle of Plastic Equivalence 1920-21.

Kasimir Malevich: 'Non-Objective Art and Suprematism' 1919.

Kasimir Malevich: The Question of Imitative Art 1920.

Naum Gabo and Anton Pevsner: 'The Realistic Manifesto' 1920.

UNOVIS: 'Programme of a United Audience in Painting of the Vitebsk State Free Workshops' 1920.

Wassily Kandinsky: 'Plan for the Physico-psychological Department of the Russian Academy of Artistic Sciences' 1921.

Johannes Itten: 'Analyses of Old Master Art' 1921.

Oskar Schlemmer: Notes 1922-23.

Walter Gropius: 'The Theory and Organization of the Bauhaus' 1923.

Theo van Doesburg, El Lissitsky, Hans Richter: 'Declaration of the International Fraction of Constructivists of the First International Congress of Progressive Artists' 1922-23.

17 Wladyslaw Strzeminski: 'What is legitimately called the New Art...' 1924.

El Lissitsky: 'A and Pangeometry' 1925.

Hannah Höch: 'The painter' c. 1920.

José Ortega y Gasset: from The Dehumanisation of Art 1925.

8. Utility and Construction.

KOMFUT: 'Programme Declaration' 1919.

Vladimir Tatlin: 'The Initiative Individual in the Collective' 1919.

Lyubov Popova: Catalogue statement 1919.

Nikolai Punin: 'The Monument to the Third International' 1920.

Alexander Rodchenko: 'Slogans' and 'Organizational Programme' 1920-21.

Alexander Rodchenko and Varvara Stepanova: 'Programme of the First Working Group of Constructivists' 1922.

Alexei Gan: from Constructivism 1922.

El Lissitsky and Ilya Ehrenburg: Statement by the editors of Veshch 1922.

LEF editorial: 'Whom is LEF alerting?' 1923.

Osip Brik: 'The So-Called "Formal Method" 1923.

Osip Brik: 'From Picture to Calico-Print' 1924.

Vladimir Tatlin: 'Report of the Section for Material Culture's Research Work' 1924.

Part IV: Freedom, Responsibility and Power.


9. The Modern as Ideal.

Paul Klee: from On Modern Art 1924.

Amédée Ozenfant: from Foundations of Modern Art 1928.

Hans Hofmann: 'On the Aims of Art' 1931.

Abstraction-Création: Editorial Statements 1932 and 1933.

Wladyslaw Strzeminski: Statements 1932 and 1933.

Carl Gustav Jung: On the concept of the 'archetype' 1934 and 1938.

Alfred H. Barr Jr: from Cubism and Abstract Art 1936.

Henri Matisse: Statements to Tériade 1936.

Naum Gabo: 'The Constructive Idea in Art' 1937.

Piet Mondrian: 'Plastic Art and Pure Plastic Art' 1937.

Barbara Hepworth: 'Sculpture' 1937.

American Abstract Artists: Editorial Statement 1938.

Ibram Lassaw: 'On Inventing Our Own Art' 1938.

Ben Nicholson: 'Notes on Abstract Art' 1941.

10. Realism as Figuration.

Vladimir Ilyich Lenin: 'On Proletarian Culture' 1920.

AKhRR: 'Declaration' 1922.

AKhRR: 'The Immediate Tasks of AKhRR' 1924.

David A. Siqueiros et al: 'A Declaration of Social, Political and Aesthetic Principles' 1922.

Red Group: 'Manifesto' 1924.

Otto Dix: 'The Object is Primary' 1927.

ARBKD (Asso): 'Manifesto' and 'Statutes' 1928.

George Grosz: from 'My Life' 1928.

Alfred Rosenberg: from The Myth of the Twentieth Century 1930.

Georg Lukács: '"Tendency" or Partisanship?' 1932.

Central Committee of the All-Union Communist Party: 'Decree on the Reconstruction of Literary and Artistic Organizations' 1932.

John Reed Club of New York: 'Draft Manifesto' 1932.

Diego Rivera: The Revolutionary Spirit in Modern Art' 1932.

Mario Sironi: 'Manifesto of Mural Painting' 1933.

Andrei Zhdanov: 'Speech to the Congress of Soviet Writers' 1934.

David A. Siqueiros: 'Towards a Transformation of the Plastic Arts' 1934.

Stuart Davis and Clarence Weinstock: 'Abstract Painting in America', 'Contradictions in Abstractions' and 'A Medium of 2 Dimensions' 1935.

Grant Wood: from Revolt Against the City 1935.

Francis Klingender: 'Content and Form in Art' 1935.

Adolf Hitler: Speech Inaugurating the 'Great Exhibition of German Art' 1937.

11. Realism as Critique.

Leon Trotsky: from Literature and Revolution 1922-23.

André Breton: from the First Manifesto of Surrealism 1924.

Louis Aragon: from Paris Peasant 1924.

Louis Aragon et al.

'Declaration of the Bureau de Recherches Surréalistes' 1925.

André Breton: Surrealism and Painting 1928.

André Breton: from the 'Second Manifesto of Surrealism' 1929.

George Grosz and Wieland Herzfelde: 'Art is in Danger' 1925.

Osip Brik: 'Photography versus Painting' 1926.

Sergei Tretyakov: 'We are searching' and 'We Raise the Alarm' 1927.

Siegfried Kracauer: from 'The Mass Ornament' 1927.

October (Association of Artistic Labour):'Declaration' 1928.

Georges Bataille: from 'Critical Dictionary' 1929-30.

Georges Bataille: 'The Lugubrious Game' 1929.

Salvador Dali: 'The Stinking Ass' 1930.

Gustav Klucis: 'Photomontage as a new problem in Agit Art' 1931.

Max Ernst: 'What is Surrealism?' 1934.

Walter Benjamin: 'The Author as Producer' 1934.

Bertolt Brecht: 'Popularity and Realism' 1938.

Fernand Léger: 'The New Realism Goes On' 1937.

12. Modernism as Critique.

Kasimir Malevich: Letter to Meyerhold 1932.

Pablo Picasso: 'Conversation with Picasso' 1935.

Herbert Read: 'What is Revolutionary Art?' 1935.

Meyer Schapiro: 'The Social Bases of Art' 1936.

Jan Mukařvoský: from Aesthetic Function 1934/36.

Walter Benjamin: 'The Work of Art in the Age of Mechanical Reproduction' 1936.

Theodor Adorno: Letter to Benjamin 1936.

Ernst Bloch: 'Discussing Expressionism' 1938.

André Breton, Diego Rivera and Leon Trotsky: 'Towards a Free Revolutionary Art' 1938.

R. G. Collingwood: Good Art and Bad Art' 1938.

Clement Greenberg: 'Avant-Garde and Kitsch' 1939.

Harold Rosenberg: 'The Fall of Paris' 1940.

Part V: The Individual and the Social.


13. The American Avant-Garde.

Clement Greenberg: 'Towards a Newer Laocoon' 1940.

Adolph Gottlieb and Mark Rothko with Barnett Newman: Statement 1943.

Jackson Pollock: Answers to a Questionnaire 1944.

Jackson Pollock: Two Statements 1947 and 1947/8.

Mark Rothko: 'The Romantics were Prompted...' 1947.

Mark Rothko: Statement 1947.

Adolph Gottlieb: Statement 1947.

Barnett Newman: 'The Ideographic Picture' 1947.

Barnett Newman: 'The First Man was an Artist' 1947.

Clement Greenberg: 'The Decline of Cubism' 1948.

Barnett Newman: 'The Sublime is Now' 1948.

Willem de Kooning: 'A Desperate View' 1949.

Jackson Pollock: Interview with William Wright 1950.

David Smith: 'Aesthetics, the Artist and the Audience' 1952.

Clyfford Still: Statement 1952.

Harold Rosenberg: from 'The American Action Painters' 1952.

Clyfford Still: letter to Gordon Smith 1959.

14. Individualism in Europe.

Wols: Aphorisms c. 1945-51.

Jean-Paul Sartre: from Existentialism and Humanism 1946.

Jean Dubuffet: 'Notes for the Well-Lettered' 1946.

Jean Dubuffet: 'Crude Art Preferred to Cultural Art' 1948.

Antonin Artaud: from Van Gogh: the Man Suicided by Society 1947.

Jean-Paul Sartre: 'The Search for the Absolute' 1948.

Samuel Beckett and Georges Duthuit: from Three Dialogues 1949.

Jacques Lacan: 'The Mirror-Phase as Formative of the Function of the I' 1949.

Jean-Michel Atlan: 'Abstraction and Adventure in Contemporary Art' 1950.

Francis Ponge: 'Reflections on the Statuettes, Figures and Paintings of Alberto Giacometti' 1951.

Albert Camus: 'Creation and Revolution' 1951.

Michel Tapié: from An Other Art 1952.

Georg Baselitz: 'Pandemonium Manifestos' 1961-2.

Francis Bacon: Interview with David Sylvester 1962-3.

15. Art and Society.

Maurice de Vlaminck: 'Open Opinions on Painting' 1942.

Francis Klingender: from Marxism and Modern Art 1943.

Robert Motherwell: 'The Modern Painter's World' 1944.

Renato Guttuso: 'Crisis of Renewal' 1944.

Pablo Picasso: 'Why I Joined the Communist Party' 1944.

Pablo Picasso: Statement to Simone Téry 1945.

Frida Kahlo: On Moses 1945.

Lucio Fontana: 'The White Manifesto' 1946.

Vladimir Kemenov: from 'Aspects of Two Cultures' 1947.

Robert Motherwell and Harold Rosenberg: 'The Question of What Will Emerge Is Left Open' 1947/8.

Constant: 'Our Own Desires Build the Revolution' 1949.

Asger Jorn: 'Forms Conceived as Language' 1949.

André Fougeron: 'The Painter on his Battlement' 1948.

Hans Sedlmayr and Theodor Adorno: from the 'Darmstadt Colloquy' 1950.

George Dondero: from The Congressional Record 1949.

Arthur M. Schlesinger Jr. from The Politics of Freedom 1950.

Alfred H. Barr Jr. 'Is Modern Art Communistic?' 1952.

Ben Shahn: 'The Artist and the Politician' 1953.

Henry Moore: 'The Sculptor in Modern Society' 1952.

David A. Siqueiros: 'Open Letter to the Painters, Sculptors and Engravers of the Soviet Union' 1955.

Georg Lukács: 'The Ideology of Modernism' 1956.

Part VI: The Moment of Modernism.

16. Art and Modern Life.

Roland Barthes: from 'Myth Today' 1956.

Jirô Yoshihara: Gutai Manifesto 1956.

Guy Debord: Writings from the Situationist International 1957-61.

Asger Jorn: 'Detourned Painting' 1959.

Frantz Fanon: 'On National Culture' 1959.

Lawrence Alloway: 'The Arts and the Mass Media' 1958.

Allan Kaprow: from Assemblages, Environments and Happenings 1959-65.

Piero Manzoni: 'Free Dimension' 1960.

Pierre Restany: 'The New Realists' 1960.

Groupe de Recherche d'Art Visuel: 'Transforming the Current Situation of Plastic Art' 1961/2.

George Maciunas: 'Neo-Dada in Music, Theater, Poetry, Art' 1962.

Raymond William: 'The Analysis of Culture' 1961.

John Cage: 'On Robert Rauschenberg, Artist, and his Work' 1961.

Jasper Johns: Interview with David Sylvester 1965.

Richard Hamilton: 'For the Finest Art, Try Pop' 1961.

Claes Oldenburg: from Documents from The Store 1961.

Andy Warhol: Interview with Gene Swenson 1963.

Roy Lichtenstein: Lecture to College Art Association 1964.

George Kubler: from The Shape of Time 1962.

Marshall McLuhan: from Understanding Media 1964.

Gerhard Richter: 'Notes 1964-5'.

Tony Smith: from an interview with Samuel Wagstaff Jr 1966.

Jasper Johns: Obituary of Marcel Duchamp 1968.

17. Modernist Art.

Alain Robbe-Grillet: 'Commitment' 1957.

David Smith: 'Tradition and Identity' 1959.

Maurice Merleau-Ponty: from 'Eye and Mind' 1961.

Roger Hilton: 'Remarks about Painting' 1961.

Clement Greenberg: 'Modernist Painting' 1960-65.

Theodor Adorno: from 'Commitment' 1962.

Barnett Newman: Interview with Dorothy Gees Seckler 1962.

Clement Greenberg: from 'After Abstract Expressionism' 1962.

Michael Fried: from Three American Painters 1965.

Michael Fried: from 'Shape as Form: Frank Stella's New Paintings' 1966.

Jules Olitski: `Painting in Color' 1967.

Stanley Cavell: 'A Matter of Meaning It' 1967.

William Tucker and Tim Scott: 'Reflections on Sculpture' 1967.

Richard Wollheim: 'The Work of Art as Object' 1970.

Part VII: Institutions and Objections.


18. Objecthood and Reductivism.

Yves Klein: from 'The Evolution of Art towards the Immaterial' 1959.

Carl Andre: 'Preface to Stripe Painting' 1959.

Frank Stella: Pratt Institute Lecture 1959-60.

Ad Reinhardt: 'Art as Art' 1962.

Donald Judd: 'Specific Objects' 1965.

Robert Morris: 'Notes on Sculpture 1-3' 1966-67.

Michael Fried: 'Art and Objecthood' 1967.

Sol LeWitt: 'Paragraphs on Conceptual Art' 1967.

Sol LeWitt: 'Sentences on Conceptual Art' 1969.

Robert Barry: Interview with Arthur R. Rose 1969.

Joseph Kosuth: 'Art after Philosophy' 1969.

Daniel Buren, Olivier Mosset, Michel Parmentier and Niele Toroni: Statement 1967.

Daniel Buren: 'Beware' 1969-70.

19. Attitudes to Form.

Terry Atkinson and Michael Baldwin: 'Air Show' 1967.

Michelangelo Pistoletto: 'Famous Last Words' 1967.

Robert Smithson: 'A Sedimentation of the Mind: Earth Projects' 1968.

Robert Morris: 'Notes on Sculpture 4: Beyond Objects' 1969.

Art & Language: Editorial introduction to Art-Language 1969.

Ian Burn and Mel Ramsden: 'The Role of Language' 1969.

Lawrence Weiner: Statements 1969-72.

Victor Burgin: 'Situational Aesthetics' 1969.

John A. Murphy: Sponsor's statement for 'When Attitudes become Form' 1969.

Germano Celant: from Art Povera 1969.

Eva Hesse: Interview with Cindy Nemser.

Joseph Beuys: 'Not just a few are called, but everyone' 1972.

Lea Vergine: from 'The Body as Language' 1974.

Bruce Nauman: Interview with Michele De Angelus 1980.

20. Political Aspects.

Hélio Oiticica: 'Appearance of the Supra-Sensorial' 1967/8.

Dan Graham: Presentation to an Open Hearing of the Artworkers Coalition 1969.

Mierle Laderman Ukeles: 'Maintenance Art Manifesto' c. 1969.

Lucy Lippard: 'Interview with Ursula Meyer' 1969 and 'Postface' 1973.

Artforum: 'The Artist and Politics: a Symposium' 1970.

Art Workers Coalition: Statement of Demands 1970.

Valie Export: 'Woman's Art' 1972.

Joseph Beuys: 'I Am Searching for Field Character' 1974.

Hans Haacke: Statement 1974.

Marcel Broodthaers: 'To be bien pensant... or not to be. To be blind' 1975.

Mel Ramsden: from 'On Practice' 1975.

Ian Burn: 'The Art Market: Affluence and Degradation' 1975.

Victor Burgin: from 'Socialist Formalism' 1976.

Art & Language: Editorial to Art-Language 1976.

21. Critical Revisions.

Jacques Derrida: from Of Grammatology 1967.

Michel Foucault: 'What is an Author?' 1969.

Louis Althusser: from 'Ideology and Ideological State Apparatuses' 1970.

Thomas Kuhn: from 'Postscript – 1969' 1970.

Roland Barthes: 'From Work to Text' 1971.

Robert Smithson: 'Cultural Confinement' 1972.

Leo Steinberg: from Other Criteria 1968-72.

Rosalind Krauss: 'A View of Modernism' 1972.

Jean Baudrillard: 'Ethic of Labour, Aesthetic of Play' 1973.

Laura Mulvey: 'Visual Pleasure and Narrative Cinema' 1973/75.

Michel Foucault: A Lecture 1976.

Rosalind Krauss: 'Notes on the Index, Part I' 1976/77.

Fredric Jameson: from 'Reflections on the Brecht-Lukács Debate' 1977.

Raymond Williams: 'Dominant, Residual and Emergent' 1977.

Edward Said: From Orientalism 1978.

Part VIII: Ideas of the Postmodern.


22. The Critique of Originality.

Jean Baudrillard: 'The Hyper-realism of Simulation'1976.

Pierre Bourdieu: 'Being Different' 1977.

Craig Owens: 'The Allegorical Impulse' 1980.

Rosalind Krauss: from 'The Originality of the Avant-Garde' 1981.

Hal Foster: 'Subversive Signs' 1982.

Sherrie Levine: Statement 1982.

Art & Language: 'Letter to a Canadian Curator' 1982.

Barbara Kruger: '"Taking" Pictures' 1982.

Peter Halley: 'Nature and Culture' 1983.

Fredric Jameson: 'The Deconstruction of Expression' 1984.

Haim Steinbach, Jeff Koons, Sherrie Levine, Philip Taaffe, Peter Halley, Ashley Bickerton: 'From Criticism to Complicity' 1986.

Julia Kristeva: Interview with Catherine Francblin 1986.

23. Figures of Difference.

Edward Said: from 'Opponents, Audiences, Constituencies, and Community' 1981.

Mary Kelly: 'Re-Viewing Modernist Criticism' 1981.

Ana Mendieta: 'Art and Politics' 1982.

Krzysztof Wodiczko: 'Public Projection' 1983.

Victor Burgin: from 'The Absence of Presence' 1984.

Jacqueline Rose: 'Sexuality in the Field of Vision' 1984/85.

Niklas Luhmann: 'The Work of Art and the Self-Reproduction of Art' 1984-86.

W. J. T. Mitchell: 'Image and Word' and 'Mute Poesy and Blind Painting' 1986.

Raymond Williams: 'When was Modernism?' 1987/89.

Louise Bourgeois: Statements from an Interview with Donald Kuspit 1988.

Richard Rorty: 'Private Irony and Liberal Hope' 1989.

Gayatri Chakravorti Spivak: 'Who Claims Alterity?' 1989.

Richard Serra: The Yale Lecture 1990.

Mike Kelley: 'Dirty Toys: Mike Kelley Interviewed' 1991/2.

Martin Kippenberger: Interview with Jutta Koether 1991/94.

Peter Wollen: 'Into the Future: Tourism, Language and Art' 1990/93.

Homi K. Bhabha: On 'hybridity' and moving 'beyond' 1994.

24. The Condition of History.

Daniel Bell: from 'Modernism and Capitalism' 1978.

Jean-Francois Lyotard: 'Introduction' to The Postmodern Condition 1979.

Jürgen Habermas: 'Modernity - An Incomplete Project' 1980.

Jean-Francois Lyotard: 'What is Postmodernism?' 1982.

Julia Kristeva: 'Powers of Horror' 1980.

Donald Judd: from '... not about master-pieces but why there are so few of them' 1984.

Joseph Beuys, Jannis Kounellis, Anselm Kiefer, Enzo Cucchi: from 'The Cultural-Historical Tragedy of the European Continent' 1986.

Gerhard Richter: from 'Interview with Benjamin Buchloh' 1988.

Gerhard Richter: Notes 1990.

Jeff Wall: from a discussion 1990.

Diederich Diederichsen: 'Which Side are You on, Cultural Worker?' 1990.

Albert Oehlen: in conversation with Wilfred Dickhoff and Martin Prinzhorn 1991.

Olu Oguibe: 'In the Heart of Darkness' 1993.

IIlya Kabakov: On installations 1994 and 2000.

Doris Salcedo: Interview with Charles Merewether 1999.

Franco Moretti: 'MoMA2000: The Capitulation' 2000.


Copyright Acknowledgements.


"Occasionally one comes across a book that is at once compelling and frightening, a book that excites and disorientates, a book with intimations of the sublime. Art in Theory is such a book. An indispensable source book." (Arlis News-Sheet)

  • New edition of this popular anthology of twentieth-century art-theoretical texts.
  • Now updated to include the results of new research, together with significant contributions from the 1990s.
  • Includes writings by critics, philosophers, politicians and literary figures.
  • The editors provide contextual introductions to 371 texts.
  • Complements Art in Theory 1648-1815 and Art in Theory 1815-1900 to create a complete survey of the theories underpinning the development of art in the modern period.
  • For more details of our book and journal list in Art, visit