Materials on Display

"We didn't think of our movies as underground or commercial or art or porn; they were a little of all of those, but ultimately they were just 'our kind of movie.'" -- Andy Warhol Andy Warhol was a remarkably prolific filmmaker, creating more than 100 movies and nearly 500 of the film portraits known as Screen Tests. And yet relatively little has been written about this body of work. Warhol withdrew his films from circulation in the early 1970s and it was only after his death in 1987 that they began to be restored and shown again. With Our Kind of Movie Douglas Crimp offers the first single-authored book about the full range of Andy Warhol's films in forty years -- and the first since the films were put back into circulation. In six essays, Crimp examines individual films, including Blow Job, Screen Test No. 2, and Warhol's cinematic masterpiece The Chelsea Girls (perhaps the most commercially successful avant-garde film of all time), as well as groups of films related thematically or otherwise -- films of seductions in confined places, films with scenarios by Ridiculous Theater playwright Ronald Tavel. Crimp argues that Warhol's films make visible new, queer forms of sociality. Crimp does not view these films as cinéma-vérité documents of Warhol's milieu, or as camera-abetted voyeurism, but rather as exemplifying Warhol's inventive cinema techniques, his collaborative working methods, and his superstars' unique capabilities. Thus, if Warhol makes visible new social relations, Crimp writes, that visibility is inextricable from his making a new kind of cinema. In Our Kind of Movie Crimp shows how Warhol's films allow us to see against the grain -- to see differently and to see a different world, a world of difference.

This searing critique of participatory art--from its development to its political ambitions--is "an essential title for contemporary art history scholars and students as well as anyone who has . . . thought, 'Now that's art!' or 'That's art?'" (Library Journal)   Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawel Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling, and bolder forms of participatory art and criticism.

"This comprehensive, insightful study demonstrates that 1960s New York underground film fused 'artistic innovation and the exploration of everyday life' and distinctively interacted with mass culture.'" --Choice " . . . thoroughly researched [and] engaging text . . . " --Library Journal "This is a very timely and welcome book. . . . intervenes very effectively to rewrite the history of the 1960s American underground cinema." --UTS Review At the confluence of experimental art and the gay subculture of early 1960s New York, Juan Suárez discovers a postmodern, gay-influenced aesthetic that "recycles" popular culture. Filmmakers Kenneth Anger, Jack Smith, and Andy Warhol epitomize this sensibility, combining the influences of European avant-garde movements, comic books, rock 'n' roll, camp, film cults, drag performances, fashion, and urban street cultures.

Since the late 1960s, films from Latin America have won widening audiences in North America and Europe. Until now, no single book has offered an introduction to the diverse personalities and practices that make up this important regional film movement. In Cinema and Social Change in Latin America, Julianne Burton presents twenty interviews with key figures of Latin American cinema, covering three decades and ranging from Argentina to Mexico. Interviews with pioneers Fernando Birri, Nelson Pereira dos Santos, and Glauber Rocha, renowned feature filmmakers Tomas Gutierrez Alea and Carlos Diegues, prize-winning documentarists Patricio Guzman and Helena Solberg-Ladd, among others, endeavor to balance personal achievement against the backdrop of historical, political, social, and economic circumstances that have influenced each director's career. Presented also are conversations that cast light on the related activities of acting, distribution, theory, criticism, and film-based community organizing. More than their counterparts in other regions of the world, Latin American artists and intellectuals acknowledge the degree to which culture is shaped by history and politics. Since the mid-1950s, a period of rising nationalism and regional consciousness, talented young artists and activists have sought to redefine the uses of the film medium in the Latin American context. Questioning the studio and star systems of the Hollywood industrial model, these innovators have developed new forms, content, and processes of production, distribution, and reception. The specific approaches and priorities of the New Latin American Cinema are far from monolithic. They vary from realism to expressionism, from observational documentary to elaborate fictional constructs, from "imperfect cinema" to a cinema that emulates the high production values of the developed sectors, from self-reflexive to "transparent" cinematic styles, from highly industrialized modes of production to purely artisanal ones. What does not vary is the commitment to film as a vehicle for social transformation and the expression of national and regional cultural autonomy. From early alternative cinema efforts in Argentina, Brazil, and Cuba to a contemporary perspective from within the Mexican commercial industry to the emerging cinema and video production from Central America, Cinema and Social Change in Latin America offers the most comprehensive look at Latin American film available today.

How Brazilian postwar avant-garde artists updated modernism in a way that was radically at odds with European and North American art historical narratives. Brazilian avant-garde artists of the postwar era worked from a fundamental but productive out-of-jointness. They were modernist but distant from modernism. Europeans and North Americans may feel a similar displacement when viewing Brazilian avant-garde art; the unexpected familiarity of the works serves to make them unfamiliar. In Constructing an Avant-Garde, Sérgio Martins seizes on this uncanny obliqueness and uses it as the basis for a reconfigured account of the history of Brazil's avant-garde. His discussion covers not only widely renowned artists and groups--including Hélio Oiticica, Lygia Clark, Cildo Meireles, and neoconcretism--but also important artists and critics who are less well known outside Brazil, including Mário Pedrosa, Ferreira Gullar, Amílcar de Castro, Luís Sacilotto, Antonio Dias, and Rubens Gerchman. Martins argues that artists of Brazil's postwar avant-garde updated modernism in a way that was radically at odds with European and North American art historical narratives. He describes defining episodes in Brazil's postwar avant-garde, discussing crucial critical texts, including Gullar's "Theory of the Non-Object," a phenomenological account of neoconcrete artworks; Oiticica, constructivity, and Mondrian; portraiture, self-portraiture, and identity; the nonvisual turn and missed encounters with conceptualism; and monochrome, manifestos, and engagement. The Brazilian avant-garde's hijacking of modernism, Martins shows, gained further complexity as artists began to face their international minimalist and conceptualist contemporaries in the 1960s and 1970s. Reconfiguring not only art history but their own history, Brazilian avant-gardists were able to face contemporary challenges from a unique--and oblique--standpoint.

An extraordinary, unconventional reevaluation of postwar art through the lens of delirium Addressing the maniacal, eccentric, and disorienting in artworks made between 1950 and 1980, Delirious situates a fascination with the absurd and irrational within the context of the violence and brutality witnessed during World War II as well as the rapid expansion of industrial capitalism in the 1950s.  Skepticism of science and technology--along with fear of its capability to promote mass destruction--developed into a distrust of rationalism, which in the arts had the paradoxical result of extracting irrational effects from rational means.  Disturbing and challenging, these works upended traditional notions of aesthetic harmony.   This thought-provoking book features work by approximately 70 artists from Europe, Latin America, and the United States, including Dara Birnbaum, León Ferrari, Bruce Nauman, Howardena Pindell, Peter Saul, Nancy Spero, and many others.  Placing the fascination with delirium within historical, literary, political, and cultural contexts, it offers a provocative view of how like-minded artists experimented with irrational subject matter and techniques--ranging from sculpture, painting, photography, and works on paper to film, video, and book design--and forged a new aesthetic that directly responded to the unbalanced times in which they were created. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Met Breuer, New York (09/13/17 - 01/21/18)

Since its original publication in 1978, Delirious New York has attained mythic status. Back in print in a newly designed edition, this influential cultural, architectural, and social history of New York is even more popular, selling out its first printing on publication. Rem Koolhaas's celebration and analysis of New York depicts the city as a metaphor for the incredible variety of human behavior. At the end of the nineteenth century, population, information, and technology explosions made Manhattan a laboratory for the invention and testing of a metropolitan lifestyle - "the culture of congestion" - and its architecture. "Manhattan," he writes, "is the 20th century's Rosetta Stone . . . occupied by architectural mutations (Central Park, the Skyscraper), utopian fragments (Rockefeller Center, the U.N. Building), and irrational phenomena (Radio City Music Hall)." Koolhaas interprets and reinterprets the dynamic relationship between architecture and culture in a number of telling episodes of New York's history, including the imposition of the Manhattan grid, the creation of Coney Island, and the development of the skyscraper. Delirious New York is also packed with intriguing and fun facts and illustrated with witty watercolors and quirky archival drawings, photographs, postcards, and maps. The spirit of this visionary investigation of Manhattan equals the energy of the city itself.

Downtown is more than just a location, it's an attitude--and in the 1970s and '80s, that attitude forever changed the face of America. This book charts the intricate web of influences that shaped the generation of experimental and outsider artists working in Downtown New York during the crucial decade from 1974 to 1984. Published in conjunction with the first major exhibition of downtown art (organized by New York University's Grey Art Gallery and Fales Library), The Downtown Book brings the Downtown art scene to life, exploring everything from Punk rock to performance art. The book probes trends that arose in the 1970s and solidified New York's reputation as arbiter of the postmodern American avant-garde. By 1974, the hippie euphoria of the previous decade, with its optimism, free love, and paeans to personal fulfillment, was over. In its place emerged a new kind of experimentation--in art, sex, drugs, and rock and roll. The seven essays featured here examine from different perspectives how Downtown artists constantly pushed the limits of both traditional media and the art world. Art critic Carlo McCormick addresses the energy, power, drugs, and nonstop erotic motion that propelled the scene. Music historian Bernard Gendron explores how minimalism, loft jazz, and Punk all occupied the same Downtown spaces. RoseLee Goldberg, the noted scholar and critic of performance art, looks back at ten years of its ascendancy Downtown. English professor Robert Siegle casts a critical eye on the literature of the Downtown scene. Librarian and archivist Marvin J. Taylor surveys Downtown as both geography and metaphor, and grapples with the question of how best to organize and preserve materials that often challenge the very notion of the archive. The book also includes seminal essays on the critical theories underlying Downtown art, by Brian Wallis; and on Downtown film, by Matthew Yokobosky. The essays are intercut with personal reminiscences by such renowned pioneers of the Downtown scene as Eric Bogosian, Richard Hell, Lydia Lunch, Ann Magnuson, Michael Musto, and Martha Wilson. More than 150 striking photographs feature Downtown denizens and galleries; works by Cindy Sherman, Keith Haring, and many other artists; and hotspots such as CBGBs and Club 57. Hip and provocative, The Downtown Book provides a rare glimpse into the cauldron of the New York artistic counterculture--and the colorful characters who inhabited it. EXHIBITION SCHEDULE: ? Grey Art Gallery and the Fales Library New York University January 10 - April 1, 2006 The Andy Warhol Museum Pittsburgh, Pennsylvania Mid-May to September 4, 2006 Austin Museum of Art Austin, Texas November 11, 2006 - January 28, 2007 (tentative dates)

Taking an ethnographic approach to understanding urban violence, Enrique Desmond Arias examines the ongoing problems of crime and police corruption that have led to widespread misery and human rights violations in many of Latin America's new democracies. Employing participant observation and interview research in three favelas (shantytowns) in Rio de Janeiro over a nine-year period, Arias closely considers the social interactions and criminal networks that are at the heart of the challenges to democratic governance in urban Brazil. Much of the violence is the result of highly organized, politically connected drug dealers feeding off of the global cocaine market. Rising crime prompts repressive police tactics, and corruption runs deep in state structures. The rich move to walled communities, and the poor are caught between the criminals and often corrupt officials. Arias argues that public policy change is not enough to stop the vicious cycle of crime and corruption. The challenge, he suggests, is to build new social networks committed to controlling violence locally. Arias also offers comparative insights that apply this analysis to other cities in Brazil and throughout Latin America.

Winner, 2022 Association of University Presses Book, Jacket, and Journal Show in the Scholarly Illustrated Category A significant contribution on the development and aftermath of post-World War II Concretism in Brazil Form and Feeling features a collection of essays by noted scholars exploring the sensorial, experience-based, and participatory practices pioneered in the 1950s by artists and poets such as Flávio de Carvalho, Ivan Serpa, Hélio Oiticica, Haroldo de Campos, Mary Vieira, Lygia Pape, Anna Maria Maiolino, Lygia Clark, Waly Salomão, and Emil Forman, among many others. Fourteen thought-provoking essays examine how many of their strategies constituted a pertinent critique of the country's wide-ranging embrace of Eurocentric modernity while anticipating a number of practices prevalent among contemporary artists today--namely, the rise of art as social practice, the embrace of pedagogical concerns by artists, and relational aesthetics. The fourteen essays collected in this volume consider the ramifications of modernist abstraction in the second half of the twentieth century and contribute to a growing academic field in postwar Brazilian and Latin American art history. Contributions to this anthology examine the development of modernist ideas that flourished in Brazil during a controversial period interspersed by dictatorial regimes. The global aspect of Brazilian art is especially evident in these studies, presenting the relational complexity of their subjects as transcultural, transnational actors while simultaneously contributing to a growing, increasingly nuanced understanding of visual and material culture, performance, and criticism in Brazil. Form and Feeling continues the important process of re-analyzing the intersections of Concretism and Neo concretism, arguing for greater affinities between the primary and lesser-known cast of characters while equally redistributing the strict geographical divisions of São Paulo and Rio de Janeiro. This anthology broadly situates this extraordinary period of artistic experimentation in direct relationship to contemporary factors, such as psychoanalysis, educational systems, poetry, politics, and feminism. It crafts innovative relationships about the constructive hierarchies of form and space, poetry and painting, and mathematics and philosophy, thus engendering new positions for a deeply ensconced period in Brazilian history.

Back in print for the first time in nearly thirty years, here is Yoko Ono's whimsical, delightful, subversive, startling book of instructions for art and for life. "Burn this book after you've read it." -- Yoko "A dream you dream alone may be a dream, but a dream two people dream together is a reality." "This is the greatest book I've ever burned." -- John

One of the most important exponents of contemporary art in South America, Helio Oiticica creates multimedia room installations which intertwine social themes, experimental elements, and appropriations from popular culture, film, and music. This book focuses on works which have rarely been seen elsewhere, works in which Oiticica questions the traditional relationship between the audience and the world of the movies, such as his "quasi-cinemas," which combine slide projections and music. The lavish nine-part sequence "Black Experiments in Cosmacocoa" is published here for the first time, alongside Oiticica's own notes and critical texts.

Hélio Oiticica (1937-1980) altered the Brazilian art scene, and his works broke with accepted conventions. His oeuvre was seminal for the breakthrough of Tropicália, the cultural movement that rebelled against the reprisals by the military regime. Experiment, proposition, participation, and environment are the key words that place Oiticica's art firmly in the sixties and seventies. Coming from painting, he developed into one of the protagonists of a new concept of art: he actively involved the viewer in the presentations of his multimedia works, and he opened up space with works that were colorful, accessible, tangible, or wearable like a piece of clothing. This participatory art with event character is related to the democratization of the concept of art as conceived by Joseph Beuys and Andy Warhol. The writings and notes by Oiticica that have been assembled in this in publication constitute a fascinating document on the transition from modern to contemporary art. Exhibition schedule: MMK Museum für Moderne Kunst, Frankfurt am Main, September 28, 2013-January 12, 2014

Hélio Oiticica (1937-80) was one of the most brilliant Brazilian artists of the 1960s and 1970s. He was a forerunner of participatory art, and his melding of geometric abstraction and bodily engagement has influenced contemporary artists from Cildo Meireles and Ricardo Basbaum to Gabriel Orozco, Dominique Gonzalez-Foerster, and Olafur Eliasson. This book examines Oiticica's impressive works against the backdrop of Brazil's dramatic postwar push for modernization. From Oiticica's late 1950s experiments with painting and color to his mid-1960s wearable Parangolés, Small traces a series of artistic procedures that foreground the activation of the spectator. Analyzing works, propositions, and a wealth of archival material, she shows how Oiticica's practice recast--in a sense "folded"--Brazil's utopian vision of progress as well as the legacy of European constructive art. Ultimately, the book argues that the effectiveness of Oiticica's participatory works stems not from a renunciation of art, but rather from their ability to produce epistemological models that reimagine the traditional boundaries between art and life.

The most comprehensive study to date of Hélio Oiticica, one of the world's foremost practitioners of neo-concretism, who is internationally recognized for his innovative and participatory work. In his ingeniously constructed works, Hélio Oiticica revolutionized the idea of interactive art. Accompanying the first full US retrospective of the Brazilian artist in over two decades, and the first ever to travel the country, this heavily illustrated volume captures the excitement and complexity of Oiticica's paintings, sculptures, and installations. Insightful essays by US and Latin American writers cover the entirety of his career, with special emphasis on his little-known New York period between 1971 and 1978. Thoroughly exploring Oiticica's most acclaimed works, such as the Parangolés and his groundbreaking installation Tropicália, this book also examines his involvement with music, literature, and his response to politics and the social environment in Brazil. From his immersion in 1960s counterculture to his life and work in New York City and final return to Rio de Janeiro, this catalog charts the development of an utterly original talent whose work is both wide-ranging and thoroughly engaging.

How Hélio Oiticica led Brazilian art's transition from abstract art to performable sculpture One of the most radical and joyful artists of the 20th century, Hélio Oiticica (1937-80) helped lead the charge in Brazilian art's unique transition from abstract concrete art to performative objects and collective performance. As MoMA's 2019 exhibition Sur Moderno demonstrated, one of Oiticica's most revolutionary projects was the Parangolé, wearable sculptures made from fabric, plastic or paper. The Parangolé is meant to be worn, inhabited and danced by a participant, lending a physical spontaneity to the piece that entirely blurs the boundaries between the art object and those who experience it. Dance in My Experience traces the genealogy of this theme within the artist's oeuvre, identifying rhythmic, choreographic and dance elements throughout his trajectory, from his first Metaesquemas through the Spatial Reliefs, Nuclei and Bólides, culminating in the Parangolés. It includes texts by Oiticica and contributions by numerous scholars.

An illustrated study that casts a new light on Oiticica's most important work of "quasi-cinema" on its fortieth anniversary. Hélio Oiticica (1937-1980) occupies a central position in the Latin American avant-garde of the postwar era. Associated with the Rio de Janeiro-based neo-concretist movement at the beginning of his career, Oiticica moved from object production to the creation of chromatically opulent and sensually engulfing large-scale installations or wearable garments. Building on the idea for a film by Brazilian underground filmmaker Neville D'Almeida, Oiticica developed the concept for Block-Experiments in Cosmococa--Program in Progress (1973-1974) as an "open program": a series of nine proposals for environments, each consisting of slide projections, soundtracks, leisure facilities, drawings (with cocaine used as pigment), and instructions for visitors. It is the epitome of what the artist called his "quasi-cinema" work--his most controversial production, and perhaps his most direct effort to merge art and life. Presented publicly for the first time in 1992, these works have been included in major international exhibitions in Los Angeles, Chicago, London, and New York. Drawing on unpublished primary sources, letters, and writings by Oiticica himself, this illustrated examination of Oiticica's work considers the vast catalog of theoretical references the artist's work relies on, from anticolonial materialism to French phenomenology and postmodern media theory to the work of Jean-Luc Godard, Andy Warhol, and Brazilian avant-garde filmmakers. It discusses Oiticica's work in relation to the diaspora of Brazilian intellectuals during the military dictatorship, the politics of media circulation, the commercialization of New York's queer underground, the explicit use of cocaine as means of production, and possible future reappraisals of Oiticica's work.

The 50th anniversary edition of MoMA's trendsetting book on conceptual artIn the summer of 1970, the Museum of Modern Art in New York mounted the now legendary exhibition Information, one of the first surveys of conceptual art. Conceived by MoMA's celebrated curator Kynaston McShine as an 'international report' on contemporary trends, the show and attendant catalog together assembled the work of more than 150 artists from 15 countries to explore the parameters and possibilities of the emerging art practices of the era. Noting the participating artists' attunement to the 'mobility and change that pervades their time', McShine underscored their interest in 'ways of rapidly exchanging ideas, rather than embalming the idea in an "object".' Indeed, much of the work in the exhibition engaged mass-communications systems, such as broadcast television and the postal service, and addressed viewers directly, often encouraging their participation in return.The catalogue, rather than merely document the show, functioned autonomously: it included a list of recommended reading, a chance-based index by critic Lucy Lippard, and individual artist contributions in the form of photographic documentation, textual description, drawings and diagrams - some relating to work in the exhibition and others to artworks as yet unrealized. This facsimile edition of the original Information catalogue, which has long been out of print, invites re-engagement with MoMA's landmark exhibition while illuminating the early history of conceptual art

First published in 1967, this text is now more relevant than ever, as McLuhan's foresights about the impact of new media is actualized at unprecedented speeds via the Internet. It portrays technologies as an extension of man, illustrating how our senses are massaged and our preceptions altered as these devices become integral parts of our lives.

Art that seeks to produce situations in which relations are formed among viewers is placed in historical and theoretical context in key writings by critics and artists.The desire to move viewers out of the role of passive observers and into the role of producers is one of the hallmarks of twentieth-century art. This tendency can be found in practices and projects ranging from El Lissitzky's exhibition designs to Allan Kaprow's happenings, from minimalist objects to installation art. More recently, this kind of participatory art has gone so far as to encourage and produce new social relationships. Guy Debord's celebrated argument that capitalism fragments the social bond has become the premise for much relational art seeking to challenge and provide alternatives to the discontents of contemporary life. This publication collects texts that place this artistic development in historical and theoretical context. Participation begins with writings that provide a theoretical framework for relational art, with essays by Umberto Eco, Bertolt Brecht, Roland Barthes, Peter B rger, Jen-Luc Nancy, Edoaurd Glissant, and Felix Guattari, as well as the first translation into English of Jacques Ranci re's influential "Problems and Transformations in Critical Art." The book also includes central writings by such artists as Lygia Clark and Helio Oiticica, Joseph Beuys, Augusto Boal, Felix Gonzalez-Torres, Thomas Hirschhorn, and Rirkrit Tiravanija. And it features recent critical and curatorial debates, with discussions by Lars Bang Larsen, Nicolas Bourriaud, Hal Foster, and Hans-Ulrich Obrist. Copublished with Whitechapel Art Gallery, London

Winner, 2014 Lambda Literary Award in LGBT Studies Since the 1970s, a key goal of lesbian and gay activists has been protection against street violence, especially in gay neighborhoods. During the same time, policymakers and private developers declared the containment of urban violence to be a top priority. In this important book, Christina B. Hanhardt examines how LGBT calls for "safe space" have been shaped by broader public safety initiatives that have sought solutions in policing and privatization and have had devastating effects along race and class lines. Drawing on extensive archival and ethnographic research in New York City and San Francisco, Hanhardt traces the entwined histories of LGBT activism, urban development, and U.S. policy in relation to poverty and crime over the past fifty years. She highlights the formation of a mainstream LGBT movement, as well as the very different trajectories followed by radical LGBT and queer grassroots organizations. Placing LGBT activism in the context of shifting liberal and neoliberal policies, Safe Space is a groundbreaking exploration of the contradictory legacies of the LGBT struggle for safety in the city.

Jill Jonnes's recounting of the rise, fall, and resurrection of the Bronx has become a classic of urban history. In this new edition, she describes in a new final chapter the extraordinary and monumental rebuilding of the borough by the grass-roots groups that was just getting underway in 1984. The original book was hailed as a vivid history of the Bronx from its origins as colonial farmlands to the borough's 1980s status as one of the nation's foremost urban disasters. The book tells the colorful story of the Bronx, starting with its development as a New York suburb and boomtown when hundreds of thousands of German, Irish, Italians, and above all, Jewish immigrants flowed into the borough to raise their families. Franklin Delano Roosevelt, assisted by his powerful lieutenant, Boss Ed Flynn, built vast Democratic majorities in the polyglot Bronx into political domination of New York and the nation. After World War II, the Bronx underwent its second boom, beginning with emigrants from Puerto Rico and blacks displaced from Manhattan. On their heels came the camp followers of modern urban poverty: drug dealers, real estate pirates, arsonists. By the mid-1970s the Bronx was burning. Block after block, once given over to working- and middle-class family life, was now utterly destroyed, abandoned, given up on. The teeming, populous Bronx had turned into an American urban desert. This borough, which in its heyday had produced such notable Americans as Clifford Odets, Paddy Cheyefsky, Lauren Bacall, Herman Wouk, Jules Feiffer, Jake LaMotta, Stanley Kubrick, E.L. Doctorow, Neil Simon, and Tony Curtis, now lay in ashes, visible to us mainly as a dreadful object lesson. Yet change was in sight. Even while the worst destruction was taking place, new forces were rising to set aside or remake the tired machinery of government, allying such institutions as the Catholic Church, insurance companies, and dedicated non-profits to rally the Bronx and turn the tide of urban thinking. In her new final chapter, Dr. Jonnes describes the triumph of the grass-roots groups as they fulfilled their great dream of rebuilding these devastated neighborhoods.

If one street in America can claim to be the most infamous, it is surely 42nd Street. Between Seventh and Eighth Avenues, 42nd Street was once known for its peep shows, street corner hustlers and movie houses. Over the last two decades the notion of safety-from safe sex and safe neighborhoods, to safe cities and safe relationships-has overcome 42nd Street, giving rise to a Disney store, a children's theater, and large, neon-lit cafes. 42nd Street has, in effect, become a family tourist attraction for visitors from Berlin, Tokyo, Westchester, and New Jersey's suburbs. Samuel R. Delany sees a disappearance not only of the old Times Square, but of the complex social relationships that developed there: the points of contact between people of different classes and races in a public space. In Times Square Red, Times Square Blue, Delany tackles the question of why public restrooms, peepshows, and tree-filled parks are necessary to a city's physical and psychological landscape. He argues that starting in 1985, New York City criminalized peep shows and sex movie houses to clear the way for the rebuilding of Times Square. Delany's critique reveals how Times Square is being "renovated" behind the scrim of public safety while the stage is occupied by gentrification. Times Square Red, Times Square Blue paints a portrait of a society dismantling the institutions that promote communication between classes, and disguising its fears of cross-class contact as "family values." Unless we overcome our fears and claim our "community of contact," it is a picture that will be replayed in cities across America.