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| Foreword to the Second Edition | |
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| Acknowledgments | |
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| Preface | |
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| Introduction | |
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| Approaching Art as a Mode of Thought | |
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| The Concept of the Avant-Garde | |
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| The Critical Point of View of this Book | |
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| New York in the Forties | |
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| New York Becomes the Center | |
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| Surrealism | |
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| American Pragmatism and Social Relevance | |
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| The Depression and the Works Progress Administration (W.P.A.) | |
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| The Availability of European Modernism | |
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| The Europeans in New York | |
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| The Sense of a New Movement in New York | |
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| Commonalities and Differences Among the Artists of the New York School | |
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| Automatism and Action in the Art of the New York School | |
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| Action and Existentialism | |
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| Clyfford Still | |
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| Adolph Gottlieb | |
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| Franz Kline | |
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| Friends in and around the New York School | |
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| A Dialog with Europe | |
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| Alexander Calder | |
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| Calder's Early Life and Themes | |
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| Calder in Paris | |
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| Cosmic Imagery and the Mobiles | |
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| Hans Hofmann | |
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| Stylistic Lessons from Europe | |
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| Hofmann's Art Theory | |
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| Hofmann's Painting | |
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| Arshile Gorky | |
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| Gorky's Life (Real and Imagined) | |
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| The Development of Gorky's Style | |
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| Gorky's Late Works | |
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| Robert Motherwell | |
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| Intellectual Affinities with the European Moderns | |
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| Recurring Themes in Motherwell's Work | |
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| Teaching, Writing, and Editing in Motherwell's Early Career | |
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| Motherwell's Painting | |
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| Willem de Kooning | |
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| De Kooning's Training and Early Career | |
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| The Dissolution of Anatomy into Abstraction | |
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| The Anatomical Forms Dissolve into Brushstrokes | |
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| De Kooning's Abstractions of the Fifties | |
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| The "Women" of the Sixties and the Late Works | |
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| Existentialism Comes to the Fore | |
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| Jackson Pollock | |
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| Pollock's Early Life and Influences | |
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| Pollock's Breakthrough of the Early Forties | |
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| Pollock's Transition to a Pure Gestural Style | |
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| The Dripped and Poured Canvases | |
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| Pollock in the Fifties | |
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| Barnett Newman | |
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| The Revelation of Newman's Onement 1 | |
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| The Paintings of the Late Forties | |
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| Vir Heroicus Sublimis and Other Works of the Fifties | |
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| The "Stations of the Cross" | |
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| Mark Rothko | |
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| Rothko's Formative Years | |
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| Turning to Classical Myth | |
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| Surrealism, Psychoanalysis, and "the Spirit of Myth" | |
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| "Heroifying" the Ineffable | |
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| The Murals and Other Late Work | |
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| David Smith and the Sculpture of the New York School | |
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| Smith's Initiation into the Art World | |
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| The Aesthetic of Machines and the Unconcious | |
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| The Pictograms and Hudson River Landscape | |
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| An Existential Encounter with the Materials at Hand | |
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| Career Success and Personal Sacrifices | |
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| The Figural Presence and the Work of the Last Decade | |
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| The New European Masters of the Late Forties | |
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| Jean Dubuffet and Postwar Paris | |
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| Dubuffet's Painting of the Forties | |
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| Dubuffet's Philosophical Premises | |
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| A Focus on Matter in the Fifties | |
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| A Grand Style of Entropy | |
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| The Existentialist Figuration of alberto Giacometti | |
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| Francis Bacon | |
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| Some International Tendencies of the Fifties | |
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| Purified Abstraction | |
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| An Encounter with the Physicality of the Materials in Europe | |
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| A Material Reading of Action Painting in New York | |
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| Greenberg's Definition of Modernism | |
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| The Greenberg School | |
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| Formalist Painting | |
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| "New Images of Man" in Europe and America | |
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| The Cobra | |
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| The Figurative Revival of the Fifties | |
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| Figurative Painting in the Bay Area | |
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| Existential Imagist Art in Chicago | |
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| The Beat Generation: The Fifties in America | |
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| "A Coney Island of the Mind" | |
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| John Cage | |
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| Merce Cunningham | |
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| The Cage "Event" of 1952 | |
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| Gutai | |
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| Robert Rauschenberg | |
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| The Self as a Mirror of Life | |
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| Rauschenberg's Early Career | |
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| The Combine Paintings | |
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| The Drawings for Dante's Inferno | |
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| The End of the Combines | |
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| The Silkscreen Paintings | |
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| Performance and the Prints of the Later Sixties | |
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| Appropriating the Real: Junk Sculpture and Happenings | |
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| Junk | |
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| The Genesis of the Happenings | |
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| The Judson Dance Theater | |
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| Fluxus | |
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| Walk-in Paintings | |
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| Claes Oldenburg | |
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| The "Cold Existentialism" of the "Ray Gun" and The Street | |
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| The Store Days | |
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| Soft Sculpture | |
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| Proposals for Monuments | |
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| Realizing Monuments and Architectural Scale | |
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| Jasper Johns | |
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| "Nature" Is How We Describe It | |
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| Painting as a Discourse on Language | |
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| An Aesthetic of "Found" Expression | |
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| Emotion and Distance | |
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| Incorporating Objects: What One Sees and What One Knows | |
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| The Paintings of 1959 | |
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| The New Emotional Tone of the Early Sixties | |
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| Explorations of Linguistic Philosophy | |
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| Diver of 1962 | |
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| Periscope (Hart Crane) | |
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| The Perceptual Complexity of Looking | |
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| The Hatch Mark Paintings | |
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| Dropping the Reserve | |
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| The European Vanguard of the Later Fifties | |
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| Nouveau Realisme | |
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| Yves Klein's Romanticism | |
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| Le Vide | |
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| The "Living Brush" | |
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| Seeking Immateriality | |
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| Klein's Demise | |
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| The Nouveaux Realistes | |
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| Joseph Beuys | |
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| Revealing the Animism in Nature | |
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| The Artist as Shaman | |
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| Art as the Creative Life of the Mind | |
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| British Pop: From the Independent Group to David Hockney | |
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| Key Figures of the Independent Group | |
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| The Exhibitions | |
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| Paolozzi and Hamilton as Artists | |
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| Reintegrating Popular Imagery into High Art | |
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| David Hockney | |
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| The Landscape of Signs: American Pop Art 1960 to 1965 | |
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| The Electronic Consciousness and New York Pop | |
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| A Turning Point in Theory | |
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| Events that Shaped the Popular Consciousness | |
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| Collaging Reality on Pop Art's Neutral Screen of Images | |
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| Andy Warhol | |
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| Warhol's Background | |
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| Selecting Non-Selectivity | |
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| Eliminating the Artist's Touch | |
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| A Terrifying Emptiness | |
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| The Factory Scene | |
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| Business Art and the "Shadows" that Linger Behind It | |
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| Roy Lichtenstein | |
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| James Rosenquist | |
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| H.C. Westermann, Peter Saul, and the Hairy Who | |
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| H.C. Westermann | |
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| Peter Saul | |
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| The Hairy Who | |
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| West Coast Pop | |
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| Funk Art | |
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| Peter Voulkos | |
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| The Politicized Cultural Climate of the Sixties | |
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| William Wiley | |
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| Ed Kienholz | |
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| L.A. Pop | |
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| Robert Arneson | |
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| Arneson's Break with Conventional Ceramics | |
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| The Toilets | |
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| A Technical Breakthrough | |
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| Objects of the Mid Sixties | |
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| The Self-Portraits | |
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| Discovering a Political Voice | |
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| Introspection via Pollock | |
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| In the Nature of Materials: The Later Sixties | |
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| Back to First Principles--Minimal Art | |
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| Frank Stella | |
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| Donald Judd | |
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| Tony Smith | |
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| Carl Andre | |
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| Dan Flavin | |
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| Robert Morris | |
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| Sol LeWitt | |
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| The Los Angeles Light and Space Movement | |
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| Object/Concept/Illusion in Painting | |
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| A Focus on Surface Handling in Painting | |
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| Eva Hesse and Investigations of Materials and Process | |
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| Eva Hesse | |
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| The Direct Sensuality of Fiberglass and Latex | |
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| Bruce Nauman and Richard Serra | |
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| Bruce Nauman | |
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| Richard Tuttle and Richard Serra | |
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| Artists Working in the Landscape | |
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| Michael Heizer | |
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| Walter De Maria | |
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| Robert Smithson | |
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| An Accidental Rubric | |
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| Arte Povera, and a Persevering Rapport with Nature in Europe | |
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| Politics and Postmodernism: The Transition to the Seventies | |
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| Re-Radicalizing the Avant-Garde | |
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| The Critical Atmosphere of the Late Sixties | |
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| Language and Measure | |
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| Art from Nature | |
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| Vito Acconci: Defining a Conceptual Oeuvre | |
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| Body Art | |
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| Ana Mendieta | |
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| Lygia Clark and Helio Oiticica | |
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| Performance Art | |
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| Nam June Paik's Electronic Nature | |
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| Direct Political Comment | |
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| Marcel Broodthaers | |
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| Situationism | |
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| The Potential for Broader Political Action | |
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| Christo and Jeanne-Claude | |
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| Art in the Theater of Real Events | |
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| The Shift to an Architectural Scale | |
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| The Logistics of the Projects | |
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| The Surrounded Islands | |
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| Christo and Jeanne-Claude in the Nineties | |
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| Postmodernism | |
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| Sigmar Polke | |
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| Gerhard Richter | |
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| John Baldessari | |
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| Surviving the Corporate Culture of the Seventies | |
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| A New Pluralism | |
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| Art and Feminism | |
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| Photography in the Mainstream | |
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| A Dazzling Photorealism | |
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| Entering the Real Space | |
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| Public Sites | |
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| Appropriated Sites: Charles Simonds | |
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| Gordon Matta-Clark's Site Critiques | |
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| The Complexity That Is Culture | |
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| Romare Bearden | |
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| Bearden's Collages of the Sixties | |
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| Alice Aycock | |
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| Metaphor Replaces Physicality in Aycock's Work of the Eighties | |
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| Philip Guston's Late Style | |
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| Guston's Early Career | |
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| Guston's Action Paintings of the Fifties | |
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| The Reemergence of the Figure | |
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| Painting at the End of the Seventies | |
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| New Expressionist Painting in Europe | |
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| Jorg Immendorff's Political Analysis of Painting | |
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| Grappling with Identity | |
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| Georg Baselitz and A.R. Penck | |
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| Anselm Kiefer | |
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| Italian Neo-Expressionism | |
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| Francesco Clemente | |
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| The Internationalization of Neo-Expressionism | |
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| The Peculiar Case of the Russians | |
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| Ilya Kabakov | |
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| New Imagist Painting and Sculpture | |
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| Elizabeth Murray | |
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| The Origins of Murray's Style | |
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| Pursuing the Logic of the Shaped Canvas | |
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| The Eighties | |
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| A Fresh Look at Abstraction | |
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| American Neo-Expressionism | |
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| Jonathan Borofsky | |
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| Graffiti Art | |
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| Keith Haring | |
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| The East Village Scene of the Eighties | |
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| Jean-Michel Basquiat | |
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| David Wojnarowicz | |
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| Post-Modern Installation | |
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| Ann Hamilton | |
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| Appropriation | |
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| Cindy Sherman | |
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| The Aesthetic of Consumerism | |
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| Political Appropriation | |
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| New Tendencies of the Nineties | |
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| Return to the Body | |
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| Transgressing Body Boundaries | |
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| The Academy of the Avant Garde | |
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| Cultural Identity | |
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| New Uses of the Camera | |
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| Art as Controversy | |
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| Fashion | |
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| Slippage: Pop Culture and Romantic Nature | |
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| Postmodern Conceptualism | |
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| Constructing the Postmodern Self | |
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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 | |