About halfway through the book Sandler moves from fondly mounting his artist-specimens to the equally juicy critical wars. "If Harvard-bred WASPs controlled the Museum of Modern Art, heterosexual Jews (the sons of immigrants) dominated writing about avant-garde art in the late 1940s and 1950s" (p. 179). The latter and the artists were formerly Marxist, in search of their identities, moralist, high-art, and antikitsch; the former, "aspiring aristocrats," "would entertain any idea of art the bourgeoisie found shocking or repulsive" (p. 180), even the campy, chichi surrealistic, pop, outsider, or outré. Critics Harold Rosenberg and Clement Greenberg were in the artist-writer camp, yet they had their differences. Rosenberg admired content and emotional discovery but sneered at "apocalyptic wallpaper" (p. 183), and Greenberg favored purely abstract formal qualities, purged of literary content. Sandler "never liked Clem" (p. 185) and also disliked Lincoln Kirstein (while appreciating his bringing Balanchine to America), who launched a "vendetta" against Alfred Barr and the Museum of Modern Art and "was obsessed with discipline and hated freedom" (p. 126). Sandler was "perversely amused by" Hilton Kramer’s "diatribes" (p. 320).