回首过去的时刻已经来临了。1965年秋,笔者开始就当前艺术状况为本报撰写定期评论,现在又以本文结束自己作为《纽约时报》艺术评论员的工作。因此,我打算选择这一时机来重新审视我国艺术史中这一段最为骚乱的时期。 在几个重要的方面,我国艺术目前所具有的基本特征,特别是它的规模,归功于六十年代开始形成的这样一个文化环境。正是那时,两个国家基金会建立起来,联邦政府在国家艺术生活中的作用也 Looking back past the moment has arrived. In the autumn of 1965, I began writing regular reviews of the current state of the art and now I conclude my work as an art commentator for the New York Times. Therefore, I intend to choose this occasion to re-examine the period of the most disturbances in our art history. In several important respects, the basic characteristics our art now possesses, and in particular its size, are attributed to such a cultural environment that began to form in the 1960s. It was then that the foundation of the two national foundations and the role of the federal government in the artistic life of the country