• Art and the Cultural Revolution
• Linking love, war, sex, and violence
• From slavery to Katrina's devastation
• Why artists are trashing Chelsea
• "The Price of Everything" in art
• An alternative space still "Not for Sale"
• Manet to Picasso, facing a firing squad
• A black artist's roller-coaster ride
• An accidental masterpiece of advertising
• Blackness, whiteness, and abstraction
• The "Frequency" of emerging black art
• Textbooks face the "language police"
• Whose political life is this anyway?
• Money swears—and even gossips
• At the Modern, who is paying for all this?
• Claiming nature for the American flag
• Monuments between ground and sky
• Galleries as fragile institutions
• Paul Kos's red pawn in their game
• The primitive's "American Effect"
• Beckmann and a nation's masks
• An official language of grieving
• Wrestling with blackness freestyle
• Modernism's evil empires?
• "Mirroring Evil" or absorbing it?
• Barney's video art as blockbuster
• A Romantic plays museum politics
• How many lives had Anthony Blunt?
• Abramovic's terrifying ocean view
• Claude, Poussin, and their world
• Between ritual and performance
• Surrealism's sex and violence
• Gestures toward the Enlightenment
• Evans and the underside of America
• Lawrence narrates black history
• Vermeer and a city's dreams
• The museum as muse
• An "American century"?
• The Renaissance, "high" and "low"
• Art's carnival and marketplace
• Soviet bureaucracy and the NEA
• Powerlessness after an election
• An alternative space . . .
• . . . or just another museum?

• Chan's intimations of disaster
• Public sculpture in Renaissance Italy
• Post-black, post-minimal, and Puryear
• Globalization as an Asian art film
• Chelsea jump-starts fall in the city
• Has blackness become invisible?
• The Whitney's "Summer of Love"
• Black flags and invisible lines
• Botero's Abu Ghraib and gold mines
• Curating a democratic museum
• The art scene's low-grade mystery
• Monuments to empire and globalization
• After the freedom center, a backlash
• A 9/11 garden and a knock at the door
• When political art starts seeing voices
• Pop Art for the Harlem Renaissance
• Political art up in smoke or up in arms
• Can a museum rewrite art history?
• The Kabakovs as art institutions
• Pop Art, politics, or Surrealism?
• Modernism's "Primitive Discord"
• Summer sculpture tries to rebuild
• Malevich seeks political asylum
• A woman on the eve of Revolution
• Brancusi's primitivism
• Noguchi returns ads to paradise
• Empathy and courtly service
• Wojnarowicz's gay allegories
• The workshop and the art world
• The Met strikes again, at the Medieval
• The critic as museum saboteur
• Tony Smith vs the sculpture parks
• Abramovic's torturous vision
• Ellison's invisibility
• Foucault's madness
• Art from Africa
• A black artist's journey
• The modernist as Jew
• In what way am I a Jew?
• The Guggenheim as private collection
• "Shock art" and human evil
• Modernism's "imaginary museum"
• Local color and patriotic fervor
• Segal's uncanny whiteness

How good is video and computer art?

I used to think of video as the tedious side of art—the installations one waits on line to enter. If some artists get their way, I might never even come to the museum, and if I have to wait, I had better blame it on my ISP. But if the revolution will not be televised, are new media truly a postmodern revolution?

• Leonardo, HDTV, and Photoshop
• Art, science, smoke, and mirrors
• Broadcasting through boundaries
• Closed circuits and family pictures
• Bird calls and meteor showers
• Douglas Gordon and "Out of Time"
• Hyperactive art or shaken perception
• Screen savers and music videos
• de Beer's house haunted by desires
• Leslie, abstraction, and the movies
• From an art fair to "One on One"
• A woman plays the art market
• Jankowski's art scene—or London's
• Barney's video art as blockbuster
• Split screens and grand opera
• Modernism pressed for time
• Three versions of a woman
• Even video gets physical
• A scream in the darkness
• Bits of novelty and appropriation
• Entelechs and a global neighborhood
• Rauschenberg's shock of the old
• Wogan's window on the floor below

• From fabric and film to Cubism
• Loving photography after the Web
• Photography's greatest impression
• Virtual buildings and geometries
• The projector and the multiplex
• Opie's cities and McPhee's lost lives
• Paik's full images and empty sets
• Neshat's and video's coming of age
• The body of the virtual landscape
• Sussman and Viola make Old Masters
• Video art's beautiful past
• Tarantino, Fellini, or video art?
• Hanley and Sarkisian in the dark
• Madonna has a satanic fashion show
• Laughter and laser-cut tears
• The Experimental Television Center
• Mediascape
• Video as a darkened theater
• Video as Romantic opera
• Baerveldt's empty dress
• Wojnarowicz's bloody turkey
• Sarkisian's pulp fiction
• Abstraction disguised as videotape

• Photography, staged or observed
• Prince locates the real America
• Critics, catalogs, and Pollock as fakes
• Dada as everyone and no one
• From the Morgan Library to the future
• Still life, still lives, and one real tree
• Channeling Abstract Expressionism
• Authenticity and perversity
• Who stole the unfinished print?
• Tarantino, Fellini, or video art?
• Goltzius's Post-Renaissance copies
• Spain, France, and art's canon
• Drawing Leonardo back from myth
• A book with many masters
• El Greco keeps copying himself
• Bits of novelty and appropriations
• The artist as project manager
• Campin's individual and the sacred
• "The Draftsman's Art"
• van Gogh's doctor tries to get it
• The workshop, and the art world
• So who painted the Assisi frescos?
• Two artists' hand-made books
• Abstract art as Ex-AbEx

• Illuminating the early Renaissance
• Collecting "The Age of Rembrandt"
• Bauhaus, design, and commodity
• Cimabue (or Duccio) gives way
• A passion flower's secret history
• A Swiss painter disguised as Turk
• Antonello's early apparition in oil
• Fra Angelico, maybe, in the making
• Finding Vermeer at the virginals
• Artists in and out of fashion
• Daguerre vanishes without a copy
• Lutter's negation of photography
• Abstraction disguised as videotape
• Alternative and reconstructions
• Pollock and the "derivative"
• Degas as collector
• Halley's ideological purity
• Mondrian in series
• The real Rembrandt and Goya
• Tansey's elegance and irony
• "Artspeak" or martspeak?
• Conceptual arts, plural
• The originality of the avant garde
• My own little performance piece

Who lies behind art's images?

Art is so obviously a thing, but it holds out tantalizing hints of the human presence. It expresses the artist; it represents people and angels; it awaits a viewer to enter its installation and its rituals. Postmodernism promises to uncover the history behind each of these images. How well does it do?

• Real sex and ideal beauty
• Seurat's shades of blackness
• Demand's photographic paper trail
• Stingel's conceptual Rococo
• An engagement with Isaac's eyes
• Closed circuits and family pictures
• Stubbs, horses, nature, and culture
• Picasso's seventy years in America
• When body art numbs the senses
• How Raphael learned his trade
• Goldin's deadly and erotic fairy tales
• Goya's last gasp—and then some
• Magritte's seduction of modern art
• Memling's lives in the balance
• Johns's art is falling down, falling down
• The body of the virtual landscape
• Basquiat's word and image as all image
• Rubens without a moment's hesitation
• After Lippi, a whole new perspective
• Sargent's many children—and adults
• A film seeks Vermeer's muse
• Art vanishing in an urban sprawl
• A biography of Gorky's absence
• An era's portrait in a convex mirror
• Sherman and Samaras expose art
• London's frenzy and tradition
• Whiteread's monumental negative
• Beckmann and a nation's masks
• The postmodern writer as fiction
• Claude, Poussin, and their world
• Art from Toledo ponders the human
• "Tempo" gives artists time
• Split screens and grand opera
• How many lives had Anthony Blunt?
• Abramovic's terrifying ocean view
• Three versions of a woman
• Artemisia as dutiful daughter
• Bursting Chardin's bubble
• Two brushes with the past
• Chelsea artists get physical
• Gestures toward the Enlightenment
• Brookner's or Friedrich's Romanticism
• Between the naked and the nude
• Giacometti's art with its throat cut
• Sobel, the drip, and the primitive
• Crashing de Kooning's party
• Modernism pressed for time
• Vermeer and a city's dreams
• Wrestling with blackness freestyle
• Krasner's dutiful breakthrough
• Noguchi returns ads to paradise
• Giving one's image a healthy tan
• Philosophy of art without artists
• Romanticism's active imagination
• Pomo's confessional theater
• America enters exotic landscapes
• Empathy and courtly service
• Laughter and laser-cut tears

• Poussin's human landscape
• An installation's hidden New York
• When art attains mythic status
• Saint-Aubin's Rococo graphic novel
• Barcelona, modernity, and others
• Artist as reporter, tourist, or voyeur
• The Renaissance twice over, in diptychs
• Tiepolo, Fragonard, and revolution
• Dada as everyone and no one
• Photography's cultivated environments
• Romantic, modern, or postmodern rebel?
• The studio and gallery take over art
• Fractal Pollock and Rembrandt's eyes
• Browsing Redon and the artist's book
• Street art and graffiti indoors and out
• Struggles for Duccio and Michelangelo
• How Arbus caught so many looking
• Sussman and Viola make Old Masters
• A Village east of Eden—and Soho
• Raphael the lover and the Mannerist
• A Sephardic Jew in Montparnasse
• From an art fair to "One on One"
• Rothko without the blockbusters
• El Greco's natural and divine light
• Barbizon woods and the Hudson
• Boucher's observation and artifice
• Drawing back from "The Edge"
• Carroll's adventures underground
• Are Stella and Schwitters painting?
• Matisse and Picasso deal with it
• Drawing Leonardo back from myth
• The Renaissance as Expressionism
• A Romantic plays museum politics
• Visions of childhood
• Two Renaissance stylists
• Sargent finds his "true" self
• Pollock's performance—or paint's
• Raimes's imagined translucency
• Art as the construction of memory
• Making Pop look old-fashioned
• Avedon's modern icons
• Coplans up close—and then some
• Nadar the poseur
• Viola as larger than life
• Vermeer's women
• Léger's "humanistic" Cubism
• Rauschenberg's shock of the old
• Facing genius head on
• Reis's forest of old memories
• Jones's empty beds
• Schiele's "shock art"
• Segal's uncanny whiteness
• Local color as personal expression
• Two Renaissance stylists
• Without the trappings of sainthood
• The Renaissance as curator's thesis
• Florence as museum label
• My own little performance piece