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In The Painted Word (1975), Tom Wolfe critiques the influence of art critics like Clement Greenberg and Harold Rosenberg. Wolfe argues that these critics moved beyond interpreting art to dictating artistic practice, essentially turning criticism into an ideology. He suggests that contemporary painters began to conform to critical theories rather than pursuing original creativity, illustrating a decline in artistic power as theoretical control rose. This phenomenon highlights how criticism, in some instances, can manipulate artistic direction rather than simply enlighten viewers.1

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