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There is no one else whose personal chronicle is also the living memory of the New York art world, from abstract expressionism to the present day.  Beginning in 1952, his memoir captures the anguished intensity of the period, with World War II an immediate memory and the imminence of nuclear disaster an everyday presence. The book features  striking encounters with Willem de Kooning, Mark Rothko, Ad Reinhardt, Barnett Newman and David Smith. Sandler  was also a witness to, and sometimes participant in, the heated critical warfare between Clement Greenberg and Harold Rosenberg. We watch the first generation of abstract expressionists give way to a second, and see that in turn succeeded by the artists of the 1960s ? Stella, Rauschenberg and Johns ? to be followed by pop and minimalism. At every turn, there was Irving Sandler, intimately conversant with the art and artists. 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The setting is downtown New York. The novel follows the careers and interactions of four artists of different generations and styles--two first generation abstract expressionists and two younger painters. Other leading characters include an elder and younger critic, two art dealers, a curator, and a collector.\u003c\/p\u003e\u003cp\u003eThe novel portrays competition within the self and with others for artistic recognition, as well as the soul-searching suffering for one's art. Connections are forged and betrayed. Whether relationships thrive or plummet, for business, pleasure or both, makes for an exciting, tough and dramatic world. 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Frank O'Hara called him, in a memorable poem, \"the balayeur des artistes,\" the sweeper-up after artists. He has been a friend or acquaintance of virtually every important American artist of the postwar period, and his art criticism and books constitute the first and most comprehensive critical and historical account of this extraordinary period. 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Also included are the artist s large-scale installations and works from the 1980s and early 1990s. Art critic, writer, and professor, Irving Sandler is the author of the memoir Swept Up by Art. Sarah Lewis is assistant professor of History of Art and Architecture and African  and  African  American  Studies,  Harvard  University.  Kevin  Quashie is professor of Africana Studies, Smith College. Klaus Ottmann is deputy director for Curatorial and Academic Affairs and Elsa Smithgall is curator, the Phillips Collection,  Washington,  D.C.  Erin  Dziedzic is  curator  and  head  of  Adult  Programs, Kemper Museum of Contemporary Art, Kansas City, Missouri.  Julie L. 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