In the early 1950s, Willem de Kooning s "Woman I "and subsequent paintings established him as a leading member of the abstract expressionist movement. His wildly impacted brushstrokes and heavily encrusted surfaces baffled most critics, who saw de Kooning s monstrous female image as violent, aggressive, and ultimately the product of a misogynistic mind. In the image-rich "Willem de Kooning Nonstop," Rosalind E. Krauss counters this view with a radical rethinking of de Kooning s bold canvases and reveals his true artistic practices. Krauss demonstrates that contrary to popular conceptions of de Kooning as an artist who painted chaotically only to end a piece abruptly, he was in fact constantly reworking the same subject based on a compositional template. This template informed all of his art and included a three-part vertical structure; the projection of his male point of view into the painting or sculpture; and the near-universal inclusion of the female form, which was paired with her re-doubled projection onto his work. Krauss identifies these elements throughout de Kooning s oeuvre, even in his paintings of highways, boats, and landscapes: Woman is always there. A thought-provoking study by one of America s greatest art critics, "Willem de Kooning Nonstop" revolutionizes our understanding of de Kooning and shows us what has always been hiding in plain sight in his work.

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