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(B) Mechanical
(C) Superficial
(D) Dramatic
(E) Paradoxical
23. The author introduces Abstract Expressionist painters (lines 34) in order to
(A) provide an example of artists who, like serious contemporary photographers, disavowed traditionally accepted aims of modern art
(B) call attention to artists whose works often bear a physical resemblance to the works of serious contemporary photographers
(C) set forth an analogy between the Abstract Expressionist painters and classical Modernist painters
(D) provide a contrast to Pop artists and others who created works that exemplify the Modernist heritage in art
(E) provide an explanation of why serious photography, like other contemporary visual forms,is not and should not pretend to be an art
24.According to the author, the nineteenth--century defenders of photography mentioned in the passage stressed that photography was
(A) a means of making people familiar with remote locales and unfamiliar things
(B) a technologically advanced activity
(C) a device for observing the world impartially
(D) an art comparable to painting
(E) an art that would eventually replace the traditional arts
25.According to the passage, which of the following best explains the reaction of serious contemporary photographers to the question of whether photogra-phy is an art?
(A)The photographers' belief that their reliance on an impersonal machine to produce their art requires the surrender of the authority of their personal vision
(B)The photographers' fear that serious photographymay not be accepted as an art by the contem-porary art public
(C)The influence of Abstract Expressionist painting and Pop Art on the subject matter of the mod-ern photograph
(D)The photographers' belief that the best art is subversive of art as it has previously been defined
(E)The notorious difficulty of defining art in its relation to realistic representation
26.According to the passage, certain serious contempo-rary photographers expressly make which of the following claims about their photographs?
