Spanish Philosopher José Ortega y Gasset had started something, it seemed, when he descibed the evolution of painting as a steady march from external reality through the subjective to the "intrasubjective" (TIME, Aug. 22). Last week, twelve U.S. modernists had picked up Ortega's word, opened an "intrasubjective" show in Manhattan.
Modernist Jackson Pollock, whose crisscrossed canvases sometimes resemble a battlefield seen from 40,000 feet or a culture of bacteria seen through a microscope, had heretofore escaped precise definition. Now he appeared in the vanguard of the new movement, flanked by such other ultra-ultras...
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