Here with a new introduction and updated bibliography, is the definitive collection of writings by and about the work of the 1960s minimalists, generously illustrated with photographs of paintings, sculpture, and performance.

Gregory Battcock was a painter, lecturer in art history and criticism, and editor of The New Art: A Critical Anthology and The New American Cinema. He was a frequent contributor to Arts Magazine, Art and Literature, College Art Journal, and Film Culture. Anne M. Wagner is Professor of the History of Art, University of California, Berkeley.

From reviews of the first edition:

"A large number of critics do think there's something there to write about. . . . Among the contributors are Lucy Lippard, Barbara Rose, Mel Bochner, Nicolas Calas, Clement Greenberg, and Richard Wollheim."—Publishers Weekly

"The great virtue of the collection is to present a map of contemporary critical opinion in America."—Times Literary Supplement

"Good criticism of contemporary art movements is both rare and scattered, and readers with access to a wide range of periodicals and catalogue introductions are few. . . Minimal Art is so obviously the most important movement of the 1960s, and equally certainly will continue to be so in the early 1970s, that this anthology will be a valuable compilation of statements by artists and assessments by critics."—Apollo

"So perspicuous was Battcock's choice of articles in Minimal Art that his book has proved to be an exceptionally telling index of the critical discourse of its time. This is the key primary source book—for that matter it remains the key book—on the subject of Minimal Art, a movement that has lately, newly become a topic of consuming interest to many modern art historians, critics, curators and artists."—Anna C. Chave, author of Mark Rothko: Subjects in Abstraction

"Good criticism of contemporary art movements is both rare and scattered, and readers with access to a wide range of periodicals and catalogue introductions are few. . . Minimal Art is so obviously the most important movement of the 1960s, and equally certainly will continue to be so in the early 1970s, that this anthology will be a valuable compilation of statements by artists and assessments by critics."—David Irwin, Apollo