The impact of the modernist movement was enhanced by the presence in New York of a contemporaneous school of art critics, particularly Harold Rosenberg of The New Yorker and Clement Greenberg of the Partisan Review and The Nation. These critics responded to the new art by developing a novel way of thinking about it. They focused almost exclusively on form and gesture, finding in the space, color, and structure of a painting the basis for a complex and satisfying critical perspective (Lipsey 1988, 298).
