Abstract
This article is a reprint of Rosalind Krauss's 1975 review of Tom Wolfe's “The Painted Word,” published in Partisan Review. The review critically examines Wolfe's polemical attack on modern art, its creators, critics, and patrons. Krauss argues that Wolfe's fundamental thesis—that modern art is empty of intrinsic content and functions merely as a social exchange medium validated by obscure critical theory—stems from his professed inability to experience genuine aesthetic response to the works themselves.
The review defends art criticism as a legitimate endeavor that aids viewers' authentic engagement with art rather than creating meaning where none exists. Krauss contrasts Wolfe's dismissive approach with the serious critical projects of figures like Harold Rosenberg, Clement Greenberg, and Leo Steinberg, who, despite their different approaches, share a commitment to describing and clarifying genuine aesthetic experiences. She argues that Wolfe's theatrical style substitutes his own personality for substantive engagement with art, and concludes that, contrary to Wolfe's claims, the real problem in contemporary art criticism is not excessive theorizing but insufficient critical engagement with modern artistic developments.