This book examines the career of New York-based artist Sherrie Levine, whose 1981 series of photographs after Walker Evans taken not from life but from Evans s famous depression-era documents of rural Alabamabecame central examples in theorizing postmodernism in the visual arts in the 1980s. For the first in-depth examination of Levine, Howard Singerman surveys a wide variety of sources, both historical and theoretical, to assess an artist whose work was understood from the outset to challenge both the label artist and the idea of oeuvreand who has over the past three decades crafted a...