Arthur Danto is best known for articulating a philosophy of art that takes its origin from his response to pop art in the 1960's but which he reads back, so to speak, to the non-representational experimentalism of the impressionists, modernists, and Dadaists. He has articulated it in books like "The Transfiguration of the Commonplace" and "The End of Art," and he recapitulates it in outline in his introductory chapter to this book, which is a collection of his art criticism from "The Nation" from the 1990s mainly. His broad point is that modern art has become philosophical -- it's not enough to talk about what the eye can take in anymore; it requires thought and contextualization. Otherwise, we would have no reason to consider an ordinary Brillo box less of an art object than Warhol's Brillo boxes. Putting it like that grossly oversimplifies his argument, but you see the point about the eye's insufficiency. When "The Nation" invited Danto to become its art critic, he had an opportunity to let us see examples of the kind of engagement that his theory requires, and we see that here in this volume. The magazine gave Danto space to be both descriptive of the art exhibitions that he reviewed and then to talk about their meaning in interesting ways that both accounted for their associations (if any) with earlier art and their place as objects with meaning in the world of the people who saw them exhibited . Danto's descriptive powers are remarkable -- he gives us a sense of what it must have been like to be in the exhibition space -- and the specificity of the descriptive writing makes us willing to trust the interpretive commentary. I say "trust" because it isn't a question of Danto insisting that he's "right" about the work -- he is very willing to write tentatively out of puzzlement when he is uncertain about what to make of something -- and he isn't mainly concerned to "evaluate" the art (although he does at times). He says, in effect, "This is worth thinking about." This is a splendid collection -- a constant stimulus to thought that invites us to keep our minds open to new experiences of art.