Irrational Modernism: A Neurasthenic History of New York Dada

Amelia Jones, author of _Postmodernism and the Engendering of Marcel Duchamp_ and _Body Art_, has (yet again!) pushed the limits of critical theory and historical investigation in art history and visual culture. _Irrational Modernism_, which is Jones's intervention into early twentieth century modernism and studies on Dada, marks the beginning of an embodied and invested art history -- one that moves away from the hegemonic practices of the historians and theorists associated with the journal October. Of course, it almost goes without saying, that Jones's style and theoretical approach is something that only a brilliant feminist and queer art historian could do. It is refreshing to have a history that starts and ends with a woman (the Baroness, et al.), and it is theoretically and historically important to have a history that counters hegemonic discourses and theories in art history (specifically, the ones practiced by east-coast art historians) because the time is right to think "our" way out of the dead-end that has been set up for "us." Indeed, Jones, using the figure of the Baroness and neurasthenia, leads us on a path that takes us away from the traditional roads that have been mapped out before, and Jones situates herself and the reader in an affect that can lead to other ways and modes of being-in-the-world. With Jones and the Baroness, we go on a derive, flaneurie, embodied stroll, and we enter into other worlds and spaces -- as well as other alternative histories and memories -- that de-naturalize the world of Dada as we presently "know" it.It is not difficult to states that this book, _Irrational Modernism_, will be important to anyone doing contemporary and modern art history, critical theory, lgbt studies, and woman's studies. I highly suggest it to anyone who desires to think their way out of the present rut that "we" are in -- the dead-end that art history and visual studies has been facing for some time now. Jones's book asks many questions and gives many answers that can lead us to a more productive space. Without a doubt, this book will be know as a landmark text - the first compelling and productive art historical book on twentieth century art and art history for the twenty-first century, as Nicholas Mirzoeff has stated.