It may be that Rosalind Krauss’s work has been subject to more disparate interpretations than any postwar art historian. In one reading, her work is methodologically scattered, moving from one theory to another without apparent connection; in another, it is curiously nonfeminist despite its repeated focus on women artists; in a third, it is restricted to major media (photography, sculpture, painting) and therefore out of touch with the current media expansion. The first makes her unreliable, the second and third irrelevant. It may be time to try to come to a more balanced and closer understanding of Krauss’s work. In particular it seems to me that her writing has a strong unity that is not brought out by these (and other) such reductive readings. In the space of this review I can only make some brief comments that I hope will open the question, but it seems to me that Krauss’s work can in some measure be described as a revaluation not only of the artists she has chosen to write about, but of certain crucial aspects of the shape of the century as a whole. Bachelors is a collection of eight separate essays, each on a woman artist: the...