This book investigates the artistic shifts in American painting and sculpture following the New York School. Marjorie Welish, an art critic and poet, examines the work of artists like Robert Rauschenberg, Jasper Johns, and Cy Twombly, who reincorporated pictorialism and textual elements into their art, often referencing art history and culture. The book also analyzes Minimal and Conceptual artists such as Donald Judd and Sol LeWitt, who responded to the subjectivity of Abstract Expressionism with objective and theoretical creations. Through this lens, Welish offers a reevaluation of postwar American art's major trends and productions.

The book is recognized for its insightful analysis of postwar American art, particularly its focus on artists who engaged with and responded to the legacy of the New York School. Welish's arguments regarding the reintroduction of pictorialism and verbal content, as well as the theoretical underpinnings of Minimal and Conceptual art, are central to its critical reception. The work is appreciated for offering a nuanced reevaluation of significant trends and artistic productions from this era. It serves as a valuable resource for understanding the complexities and dialogues within American art after 1960.