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| Illustrations | |
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| Acknowledgments | |
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| Foreword to the Second Edition | |
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| Introduction | |
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| The Crisis of the Real | |
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| Re: Mastering Modernism | |
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| Alfred Stieglitz and the Contradictions of Modernism | |
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| Edward Weston's Late Landscapes | |
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| Ansel Adams: The Politics of Natural Space | |
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| Minor White: The Fall from Grace of a Spiritual Guru | |
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| The Radical Failure of Laszlo Moholy-Nagy | |
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| Robert Frank's Existential Refrain | |
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| In Search of America | |
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| The Machine and the Garden: Photography, Technology, and the End of Innocent Space | |
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| Walker Evans, Connoisseur of the Commonplace | |
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| Helen Levitt's Realist Theater | |
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| The Final "Facts" of Garry Winogrand | |
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| Lee Friedlander's Portraits | |
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| Robert Adams's Pathetic Frontier | |
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| Joel Sternfeld: The Itinerant Vision | |
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| Richard Avedon's Portraits: Inverted Fashion, Fashionable Mud | |
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| Nan Goldin's Grim "Ballad" | |
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| A New Kind of Art: Camera Culture in the 1980s | |
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| Introduction | |
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| Photographic Culture in a Drawn World | |
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| Andy Warhol: Presentation Without Representation | |
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| Chuck Close's Hyperbolic Verisimilitude | |
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| Lucas Samaras's Photographs: Sliced, Stabbed, and Cubed Polaroids | |
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| Cindy Sherman: A Playful and Political Postmodernist | |
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| Cindy Sherman, Continued: Grimm, but Still Playful | |
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| Laurie Simmons: Water Buoyed | |
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| Barbara Kruger: Photomontage with Difference | |
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| Richard Prince, Rephotographer | |
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| Robert Cumming, Conflationist | |
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| Jan Groover: Consciousness as Content | |
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| The Photograph as Art Object | |
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| Robert Mapplethorpe: The Subject Is Style | |
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| Now Starring The Starn Twins | |
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| The Representation of Abstraction/The Abstraction of Representation | |
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| Documentary Dilemmas | |
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| Introduction | |
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| What Kind of Art Is It? Connoisseurs Versus Contextualists | |
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| Decoding National Geographic | |
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| Oliver North, Fawn Hall, and the View of Life from Life | |
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| The Foreign and the Fabulous | |
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| The "New Photojournalism" and the Old | |
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| Magnum's Postwar Paradox | |
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| Subject and Style: Prospects for a New Documentary | |
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| Portraits, Real and Recycled | |
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| Nicholas Nixon's People, With AIDS | |
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| Displaced Sympathies: A Reading of Bill Burke's Portraits | |
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| Photography at the End of the Millennium | |
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| Photography in Its 150th Year | |
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| Photography in the Age of Electronic Simulation | |
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| Looking at Television | |
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| Photographic Memory and the News in "Real Time" | |
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| Art Under Attack: Who Dares Say That It's No Good? | |
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| Points of Entry: Tracing Cultures | |
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| Photography's Dark Side: The Work of Sophie Calle | |
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| Sweet Illusion: Vik Muniz's Sigmund | |
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| J. John Priola: The Photograph as Index | |
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| Photography Beside Itself | |
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| Notes | |
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| Text Credits | |
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| Picture Credits | |
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| Bibliography | |
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| Index | |