The specter of Michael Fried’s imperious rhetoric looms large over Pamela Lee’s study Chronophobia: On Art and Time in the 1960s. Indeed, part 1 of her three-part study and (rather confusingly) the first of its five chapters both bear the title “Presentness Is Grace,” a quote taken from the last line of “Art and Objecthood,” Fried’s now seminal disavowal of “literalist” art, first published in Artforum in 1967. As many have done before her, Lee...