In his review** of The Dada Painters and Poets: An Anthology (1952), the modern art critic Thomas B. Hess posed these questions as the ones he felt we should be asking about dada:
 What has the idea of a collective avant-garde become a matter of such sensitive importance?
 What makes artists turn so readily to public statements of private positions?
 How have the elementary strategies of shock and irresponsibility become such elaborate intellectual games?
Below: a portrait of Hess painted by Elaine de Kooning in 1956.
** Saturday Review of Lit,. March 1, 1952, p. 53.