Abstract

Looking back in the late fifties on the rise of New York's postwar avant-garde, Clement Greenberg remarked that “some day it will have to be told how ‘anti-Stalinism,’ which started out more or less as ‘Trotskyism,’ turned into art for art's sake, and thereby cleared the way, heroically, for what was to come.” It was a good point, and one that Greenberg himself had largely neglected in his own accounts of American Modernism. The story of how New York Intellectuals and Abstract Expressionists came to the defense of artistic vanguardism from a common past of Marxist commitments, and of how that defense ended in the fifties with a celebration of American cultural freedom, certainly had to be told