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Non seulement ses prises de position audacieuses connurent très tôt un retentissement considérable (elle fut le critique du minimalisme, par exemple), mais elles furent amplifiées par son enseignement (on trouve parmi ses élèves les meilleurs historiens et critiques actuels de l’art moderne en Amérique) et par la revue \u003cem\u003eOctober\u003c\/em\u003e, qu’elle fonda avec Annette Michelson en 1976.\u003c\/p\u003e\n\u003cp\u003eLe recueil de textes présentés ici expose à la fois l'itinéraire intellectuel de Rosalind Krauss, la diversité de ses intérêts et sa rare capacité à lier les problèmes esthétiques posés par telle ou telle œuvre d’art aux grandes questions théoriques de notre temps. Aucun essentialisme dans ce livre, aucun sanglot nostalgique, aucun retour à «l’humain», au «métier» ou à la terre de nos ancêtres. L’art moderne et contemporain a beaucoup à nous apprendre sur nous-mêmes, dit Rosalind Krauss. Encore faut-il lui faire un peu confiance. 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