"By 1985 and the publication of "The Painting of Modern Life," the veil of false consciousness had annealed into the hegemony of the society of spectacle, much bemoaned by Clark. And, rather than rending that veil asunder, Manet's paintings could do no more than detect the traces of its distortions and repressions by emphasizing the folds and flaws marking its reprehensible surface."
- James D. Herbert, "Clark's Modernism," Art Journal, Winter 1999
(Courtesy of Sandy Sorlien)
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