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1 Alloway, Lawrence. 1961. “Artists as Consumers.” Image 3: 14–19.

2 Alloway, Lawrence. 1966. “The Development of British Pop.” In Pop Art, edited by Lucy Lippard, 31–2. New York: Praeger.

3 Alloway, Lawrence. 1979. “The Complex Present.” Art Criticism 1(1): 32–41. (Reprinted in Imagining the Present: Essays by Lawrence Alloway, edited by Richard Kalina, London: Routledge, 2006.)

4 Alloway, Lawrence. 1987. “The Long Front of Culture.” In This Is Tomorrow Today: The Independent Group and British Pop Art, edited by Brian Wallis, 31–4. Long Island City, NY: Institute for Art and Urban Resources.

5 Baetens, Jan. 2012. “Visual Culture and Visual Studies.” In Art History and Visual Studies in Europe: Transnational Discourses and National Frameworks, edited by Matthew Rampley, 91–106. Leiden and Boston: Brill. DOI: 10.1163/9789004231702.

6 Battcock, Gregory. 1966. The New Art: A Critical Anthology. New York: E. P. Dutton.

7 Berger, John. 1972. Ways of Seeing. London: BBC and Penguin Books.

8 Bois, Yve Alain and Rosalind Krauss. 1997. Formless: A User’s Guide. Cambridge, MA: MIT Press.

9 Bourdieu, Pierre. 1979. Distinction: A Social Critique of Judgment. Cambridge, MA: Harvard University Press.

10  Crimp, Douglas. 1995. On the Museum’s Ruins. Cambridge MA: MIT Press.

11 The Editors. 1996. “Visual Culture Questionnaire.” October 77: 25–70.

12 Hunter, Sam, ed. 1985. Selections from the Ileana and Michael Sonnabend Collection. Exhibition Catalog. Princeton, NJ: Princeton University Art Museum.

13 Jay, Martin. 1993. Downcast Eyes: The Denigration of Vision in Twentieth Century French Thought. Berkeley, CA: University of California Press.

14 Kaplan, Louis. 2010. “Bataille’s Laughter.” In Black Sphinx: The Comedic in Modern Art, edited by John Welchman, 98–125. Zurich: JRP/Ringier.

15 Krauss, Rosalind. 1974. “Robert Rauschenberg and the Materialized Image.” Artforum 13(4): 36–43.

16 Krauss, Rosalind. 1977. “Notes on the Index: Seventies Art in America.” October 3: 68–81.

17 Krauss, Rosalind. 2002. “Robert Rauschenberg and the Materialized Image.” In Robert Rauschenberg, edited by Branden W. Joseph, 39–55. Cambridge, MA: MIT Press.

18 Rice, Shelley. 2009. “Back to the Future: George Kubler, Lawrence Alloway, and the Complex Present.” Art Journal 68(4): 78–87. DOI: 10.1080/00043249.2009.10791363.

19 Rice, Shelley. 2011. “Lawrence Alloway’s Spatial Utopia: Contemporary Photography as Horizontal Description.” Tate Papers 16. https://www.tate.org.uk/research/publications/tate‐papers/16/lawrence‐alloway‐spatial‐utopia‐contemporary‐photography‐as‐horizontal‐description.

20 Roth, Moira. 1977. “The Aesthetic of Indifference.” Artforum 16(3): 46–53.

21 Rothkopf, Scott. 1997. “Krauss and the Art of Cultural Controversy.” Harvard Crimson, May 16. https://www.thecrimson.com/article/1997/5/16/krauss‐and‐the‐art‐of‐cultural.

22 Sanouillet, Michael, ed. 1975. Salt Seller: The Essential Writings of Marcel Duchamp. New York: Thames & Hudson.

23 Steinberg, Leo. 1972a. “Other Criteria.” In Leo Steinberg, Other Criteria: Confrontations with Twentieth Century Art, 55–91. New York: Oxford University Press.

24 Steinberg, Leo. 1972b. “Reflections on the State of Criticism.” Artforum 10(7): 37–49.

25 Sweeney, James Johnson. 1946. Interview with Marcel Duchamp in “Eleven Europeans in America.” Museum of Modern Art Bulletin 13(4–5): 19–21.

26 Wood, Michael and WNET New York. 1989. “In Our Own Time” (Episode 9). In Art of the Western World (Videotape). Santa Barbara, CA: Annenberg/CPB Project.