PRINT March 1969




I have a high regard for Eugene D. Genovese as an historian and as a political writer, but his references in the February number of Artforum to my article on the Harlem Studio Museum show (New York Times, November 24, 1968) are so misdirected that I can only conclude he shares with Mr. Hoving at least one characteristic in common—a willingness to take on subjects and responsibilities he knows nothing about. For on the subject of painting and sculpture he appears to know exactly nothing. Nor, apparently, is he eager to repair this gap in his knowledge. Though he devotes a good deal of space to my criticism of this exhibition of black artists of the 1930s and even uses the occasion to offer a hypothetical “history” of black art in America, I gather he did not feel it necessary to look at the art in question.

From this position of ignorance he proceeds to hand out grades—failing in my

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