| Preface | |
| I | The Fifty-ninth Street Studio | 3 |
| II | The American Background | 10 |
| III | Tonalism versus Technocracy | 20 |
| IV | Adding Muscle to American Art | 32 |
| V | The Body in the Landscape | 46 |
| VI | The Landscape in the Body: John Vanderpoel | 52 |
| VII | The Hazards of Humanism in a Modernist Environment | 65 |
| VIII | The "Woman Artist" and the Great Transition | 79 |
| IX | Technocracy versus the Color of Mood | 97 |
| X | The Masses and the Matter of Mind | 109 |
| XI | Economics and the Myth of Modernist Martyrdom | 123 |
| XII | Modernism and the Politics of Gender | 128 |
| XIII | Lighthouses and Fog: The Watercolors | 147 |
| XIV | Stieglitz and the American Tradition | 162 |
| XV | Stieglitz's Dreams of Femininity and Materialism | 167 |
| XVI | The Boy in the Dark Room: The Fifty-ninth Street Studio Once More | 175 |
| XVII | The Revenge of the Rhetoricians of Gender | 190 |
| XVIII | No Ideas but in Things: The First Postmodernist Era in American Art | 203 |
| XIX | Barns and Apples | 210 |
| XX | Flowers and the Politics of Gender | 222 |
| XXI | O'Keeffe and New York City | 230 |
| XXII | An American Place? | 237 |
| XXIII | Forms beyond Time | 249 |
| Bibliography of Works Cited | 253 |
| List of Illustrations | 259 |
| Index | 263 |