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The term "Neo-Dada" surfaced in New York in the late 1950s and was used to characterize young artists like Robert Rauschenberg and Jasper Johns whose art appeared at odds with the serious emotional and painterly interests of the then-dominant movement, Abstract Expressionism. Neo-Dada quickly became the word of choice in the early 1960s to designate experimental art, including assemblage, performance, Pop art, and nascent forms of minimal and conceptual art."An Audience of Artists" turns this time line for the postwar New York art world on its head, presenting a new pedigree for these...

Terry Castle's recent study of masquerade follows Bakhtin's analysis of the carnivalesque to conclude that, for women, masquerade offered exciting possibilities for social and sexual freedom. Castle's interpretation conforms to the fears expressed by male writers during the period--Addison, Steele, and Fielding all insisted that masquerade allowed women to usurp the privileges of men. Female authors, however, often mistrusted these claims, perceiving that masquerade's apparent freedoms were frequently nothing more than sophisticated forms of oppression.

Catherine Craft-Fairchild's...