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Benjamin H.D. Buchloh

THIS FIRST OF TWO VOLUMES collecting the art-critical writings of Benjamin H.D. Buchloh runs to more than 500 pages; its companion, already in press, will weigh in with equivalent heft. The effect, if my reading is right, will be a new revelation of an intellectual figure who is already widely recognized but curiously unassimilated within the larger verbal machinery that surrounds contemporary art. The strength of Neo-Avantgarde and Culture Industry is that it serves as an occasion not just to celebrate a career that has genuinely changed the terrain of advanced art but to contend anew with a kind of philosophical summa that has taken shape over years through widely dispersed essays and articles.

Buchloh has roughly divided the contents of these two collections into his essays centered on individual artists for volume one and those of a broader thematic character for volume two. The

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