Art criticism in the 1980s was highly influenced by market forces that somewhat changed the face of the art world. A mediocre show purchased by a wealthy investor or collector received disproportionate coverage in the New York press, particularly those glossy, four-color journals that were highly dependent upon the advertising dollars of galleries, auction houses, vodka companies, airlines and fashion designers. Lost in the coverage of market-driven art was that it was not necessarily the most advanced or even the most significant work of the decade. This work provides an alternative viewpoint to the general American cultural discourse of the 1980s, showing that the real situation was not the exclusionary rhetoric of Postmodernism but was instead the conflict between late Modernism and Conceptual Art. The 24 essays range from discussions on Joseph Beuys and Allan Kaprow to studies of French artist Tania Mouraud and Polish artist Jan Zakrzewski. It also includes a lengthy commentary on art and technology, along with a look at performance and installation art.

In Gabriel de la Mora's work, accuracy and execution appear to be conceptual as well as formal manoeuvres. If everything appears to be in its place, what is so disquieting and marvellous about his work? What leads us to experience something sinister? His work is related with the dark side of the psyche, its internal side, away from the cynical and ironic proposals that are so common in contemporary art. Gabriel de la Mora's works explore personal identity through different lines of research that trace the thread of his work: originality, the paranormal, identity, memory, portrait and body are part of set of dichotomies represented in his work, where the line and point become elements which generate dialogue between drawing and sculpture, between two dimensional and three dimensional.

Present-day, Deep South and rural Blasingame County, Alabama, isn't the place one would normally associate with an ancient Chinese wizard's curse, creatures from the underworld of ancient religious mythology, and a snappish Japanese national with State Department credentials.

Yet, a monster hunt is in order, and so is a clash of cultures, religions, and personalities.

It will take the efforts of the unlucky county sheriff and the bitter, driven monster-hunter from Japan to rid Blasingame County of a monster whose only limitation is a commonplace vine that grows all over the South.

A publishing event: culminating works by a major figure in art history, collected here for the first time Exploring a surprising breadth of issues and mediums and demonstrating a depth of aesthetic and philosophical insights, in these relatively unknown works Greenberg incites a new direction for modernism beyond the twentieth century.

Kidney transplantation is a medical procedure performed on patients with end-stage kidney disease that can increase their life expectancy by several years. However, the procedure involves some risk and potential complications. Chapter One of this monograph summarizes the current strategy for diagnosis and treatment of chronic kidney disease-associated mineral bone disease (CKD-MBD) in kidney transplant recipients and aims to demonstrate the latest findings and therapeutic options in the field beyond recent published guidelines. Chapter Two describes the necessity of involving a psychiatrist in the transplant team to facilitate positive outcomes in kidney transplants, as psychological factors can contribute to treatment non-compliance and other issues. Chapter Three defines the surgical techniques used in living donor nephrectomy, discusses the use and reliability of these techniques in different patient groups, and examines the long-term follow-up results of donors and recipients. Lastly, Chapter Four discusses the variables involved in treating patients with autosomal dominant polycystic kidney disease (ADPCKD), whose enlarged and deformed kidneys can complicate kidney transplantation.

Clement Greenberg (1909-1994) was a colossus of twentieth-century American art, achieving a degree of authority almost unimaginable for a critic today. For more than thirty years he was both lionized as a proponent of formalism and criticized for his perceived dogmatism. In the postwar period Greenberg used his position of influence to advocate the importance of abstract expressionism and color-field painting and to establish the careers of such artists as Jackson Pollock, Hans Hofmann, Barnett Newman, and Willem de Kooning. With the coming of pop art, performance and conceptual art, and postmodernism, however, Greenberg found his position increasingly challenged. Edited with an introduction by critic Robert C. Morgan, Clement Greenberg, Late Writings "is the first collection from the period 1970 to 1990, and the only comprehensive resource for Greenberg's thought during the last third of his life. While earlier works have covered Greenberg's early and middle career, this volume spans his mature period, during which he reevaluates and refines many of his earlier tenets in some of his most carefully crafted and engaging work. Exploring a surprising breadth of issues and mediums and demonstrating a depth of aesthetic and philosophical insights, in these relatively unknown works Greenberg incites a new direction for modernism beyond the twentieth century. This essential volume includes five interviews from the end of his life in which Greenberg revisits some of the concerns of his formative years, illuminating the progression of his thought. Late Writings" is an integral resource as issues of quality and significance in the dynamic world of art continue to be redefined. Clement Greenberg was the most influential art critic of the postwar period. He was the author of numerous books, and his essays appeared in art magazines as well as such publications as "Partisan Review, Commentary, "and "The Nation." Robert C. Morgan is the author of "The End of the Art World" and of a monograph on the optical painter Vasarely. In addition to his work as a critic, artist, art historian, and curator, he is visiting professor of art at Hunter College in New York City.