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: He identifies an insular group of roughly 10,000 elite curators, museum directors, and wealthy patrons (centered primarily in New York) who decide what is "important" art.

The Painted Word argues that modern art has become completely dependent on written theory. He suggests that by the 1970s, the visual experience of a painting had been eclipsed by the "Word"—the explanations and manifestos of elite critics like Clement Greenberg and Harold Rosenberg.

Wolfe argues that 20th-century art stopped being about looking. Instead, it became a spectator sport where the audience must read the theory before they can appreciate the piece.