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| Introduction | |
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| New York in the Forties | |
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| A Dialog with Europe | |
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| (Calder, Hofmann, Gorky, Motherwell, De Kooning) | |
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| Existentialism Comes to the Fore | |
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| (Pollock, Newman, Rothko, David Smith) | |
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| The New European Masters of the Late Forties | |
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| (Dubuffet, Giacometti, Bacon) | |
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| Some International Tendencies of the Fifties | |
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| (Purified Abstraction, Greenberg's Definition of Modernism, The Cobra, The Figurative Revival of the Fifties) | |
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| The Beat Generation: The Fifties in America | |
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| (Cage, Rauschenberg, Junk Sculpture, Happenings, Fluxus, Oldenburg, Johns) | |
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| The European Vanguard of the Later Fifties | |
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| (Nouveau Realisme, Beuys, British Pop) | |
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| The Landscape of Signs: American Pop Art 1960 to 1965 | |
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| (Warhol, Lichtenstein, Rosenquist, Westermann, Saul, The Hairy Who, West Coast Pop, Arneson) | |
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| In the Nature of Materials: The Later Sixties | |
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| (Minimal Art, Stella, Judd, Tony Smith, Andre, Flavin, Morris, LeWitt, The Los Angeles Light and Space Movement, Eva Hesse, Nauman, Serra, Heizer, De Maria, Smithson, Arte Povera) | |
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| Politics and Postmodernism: The Transition to the Seventies | |
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| (Conceptual Art, Body and Performance Art, Christo, Polke, Baldessari, Postmodernism, Polke and Richter) | |
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| Surviving the Corporate Culture | |
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| (Pluralism, Feminism, Photo Realism, Public Art, Matta-Clark, Bearden, Aycock, late Guston) | |
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| Painting at the End of the Seventies | |
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| (Immendorff, Kiefer, Clemente, Bartlett, Rothenberg, Murray) | |
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| The Eighties | |
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| (Puryear, Cragg, Schnabel, Borofsky, Haring, Basquiat, and Wojnarowicz, Appropriation) | |
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| New Tendencies of the Nineties | |
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| (Return to the Body, Diasporic Identity, Kabakov, Ann Hamilton, Photography and Video, Art and Fashion) | |
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| To Say the Things That Are One's Own | |
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| Bibliography | |
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| Notes | |
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| Index | |