Since the early 1990s, several prominent artists, curators, and professors have opened a dialogue to address the definitions and meanings of Jewish American Art. This surge coincided with, but was not part of, multiculturalism and identity-based art and politics. (For clarification, like Bloom I am interested in Jewishness the culture rather than Judaism the religion). Over the past decades many important articles, exhibitions, and catalogues demonstrate how being a Jew has shaped the careers of art professionals, and how Jews in the art market and the academy often saw (some perhaps still do) their status as Jews as something to suppress or at least negotiate in order to succeed in the United States. The tendency of Jews to explore their identities in terms of race and ethnicity began in the late nineteenth century with the formation of Zionism, and when identity moved beyond religion and race to being understood as ethnic and cultural. The activity of intense scholarship begun in the 1990s continues today. For example, curator Norman Kleeblatt’s bold, exciting, and innovative 1996 exhibition at New York City’s Jewish Museum, Too Jewish? Challenging Traditional Identities, along with its catalogue (New York: Jewish Museum, 1996) and related essays by Kleeblatt,...