This impressive and dense book examines a subject that on the surface seems to have been fully explored: early American modernism and the Stieglitz circle.[1] Alfred Stieglitz’s renowned wife, Georgia O’Keeffe, remains a central figure among these various publications. It is not surprising, then, that Kathleen Pyne also weaves her text around the importance of this artist who, according to Pyne’s account, fulfilled Stieglitz’s search for a “woman-child,” a sexually active adult who could retain her childhood innocence to capture in her art a pure, essential feminine vision, and who could assist him in creating his own identity as a modernist man in defiance of bourgeois materialism and gentility. Pyne argues that Stieglitz supported various women before O’Keeffe, whom he believed could embody this ideal; but each of them, with the exception of his future wife, failed to fulfill his expectations. She thus also examines the art and lives of Gertrude Käsebier, Pamela Colman Smith, Anne Brigman, and Katharine Nash Rhoades, two of whom were photographers who belonged to the Photo-Secession group. This book is unique in its focus on a number of women artists in addition to O’Keeffe in the Stieglitz circle, and its concentration on photography as well...