Joseph Masheck wants to take art, historical and modern, as a field of lively interrelations, rather than just second the motion that art history should be nonlinear; and he takes the task of art criticism to be theory in practice. Thus significant new art is represented in the thirty essays in _Modernities_, besides already "classic" modern architecture, sculpture, and photography, and contemporary painting by artists. Alternating between a comprehensive sense of art history and engagement with the new and unplumbed contemporary (...) arts, he considers himself a kind of aesthetic double agent. Because Masheck is concerned with the concrete standing of artworks, he speculates on how works of art, including Marcel Duchamp's "ready-mades," relate to other things. More general themes range from the origin of the modern sense of form in prehistoric art to the historical underpinnings of expressionism and on to latter-day "graffiti" culture. (shrink)