Allan Antliff’s study of the relations between American art and what he identifies as anarchist beliefs and political activity between 1908 and the end of World War I is a fascinating and important contribution to a knowledge of the wider circumstances of artistic production in the United States during this period. In a historical narrative connected solidly to thematic analyses, Antliff deals alternatively with organizations of varying kinds as well as with individual artists that, together, constituted a thriving anarchist political “micro-culture” of conjoined artistic production and critical discourse. Despite some of the weaknesses in Antliff’s account (elements of which I suggest below), his book significantly extends and deepens an understanding of this phase of teeming politico-aesthetic activity—mainly in New York, it has to be said—and deserves to be added to the core curriculum for undergraduate study of the first half-century of American modernism. In a series of well-illustrated chapters, Antliff begins by charting the emergence of politicized avant-garde opposition to conservative pseudo-official institutions such as the National Academy of Art and Design. He moves on to assess the anarchist context and impact of the 1913 Armory Show, detailing the artistic and political interests of scores of influential figures including...