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| Preface | |
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| Introduction | |
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| Introductory Texts | |
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| Modernity and Self-Identity: Self and Society in the Late Modern Age | |
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| When Was Modernism? | |
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| Vision, Voice and Power: Feminist Art History and Marxism | |
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| Politics and the Intelligentsia | |
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| Capitalism and Culture | |
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| Introduction to Part I | |
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| The Painting of Modern Life | |
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| On the Problem of the Autonomy of Art in Bourgeois Society | |
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| Aesthetics and Politics | |
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| Art, Autonomy and Mass Culture | |
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| On Non-Objective Painting | |
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| Abstract Expressionism, Weapon of the Cold War | |
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| Capitalism, Modernism and Postmodernism | |
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| Gender', 'Race' and the Politics of Representation | |
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| Introduction to Part II | |
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| Preliminaries to a Possible Treatment of 'Olympia' in 1865 | |
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| Modernity and the Spaces of Femininity | |
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| Orientalism | |
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| Frida Kahlo and Tina Modotti | |
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| Mapping | |
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| Historical Methods and Critical Perspectives | |
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| Introduction to Part III | |
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| The Love of Art | |
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| Defining 'Impressionism' and the 'Impression' | |
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| The Intransigent Artist or How the Impressionists Got Their Name | |
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| The 'Primitive' Unconscious of Modern Art | |
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| In the Name of Picasso | |
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| Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting | |
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| The New Adventures of the Avant-Garde in America: Greenberg, Pollock, or from Trotskyism to the New Liberalism of the 'Vital Center' Translated by Thomas Repensek | |
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| Greenberg and the Group: a Retrospective View | |
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| Minimalism and the Rhetoric of Power | |
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| The Museum of Modern Art: the Past's Future | |
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| Aesthetic Theory and Social Critique | |
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| Introduction to Part IV | |
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| The Work of Art in the Age of Mechanical Reproduction | |
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| Modernist Painting | |
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| 'the Works of Art Themselves'? | |
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| Literalism and Abstraction: Frank Stella's Retrospective at the Modern | |
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| Painting: the Task of Mourning | |
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| A Report on the Western Front Postmodernism and the 'Politics' of Style | |