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A member of the American Academy of Arts and Sciences, Foster was a founding editor of Zone Magazine and Books, and he writes regularly for October (which he co-edits), Artforum, and The London Review of Books. He is a member of the School of Architecture and an associate member of the Department of German in addition, he sits on the executive committee of the Program in Media & Modernity.

(Oct.Professor Foster teaches and publishes in the areas of modernist and contemporary art, architecture, and theory. It's a brilliant work, but outside the seminar room, most readers will quickly decide to give up the struggle. This book, however, is heavy reading throughout, and not a sentence goes by without linguistic convolution bringing the mind to a halt and forcing a re-reading. Thus as the old academy of the studio is replaced by this new one of the seminar room, reading becomes a primary activity for all, including artists, critics and historians. For more productive models, Foster advocates the work of Renee Green, Mary Kelly, Fred Wilson-artists whose interdisciplinary approach bridges art, anthropology and ethnology. Following the leads of Althusser and Lacan, he urges structuralist re-readings of radical texts (including art) for content that breaks with ""our decentered relations to the language of our unconscious"" and ""humanist problems of alienation."" A chapter on recent ""abject art"" (like Mike Kelley and John Miller) finds interest in its surrealist-style rebellion to be as limited as ever by adolescent anarchical antics. Foster, who teaches art history and comparative literature at Cornell and is an editor of the journal October, claims for his generation of cultural theorists, who came of age in the wake of minimalist and conceptual art, the primacy of ideas with their potential connection to real political time and space over objects. Dividing the century into two avant-gardes, the author passes on the one that runs from Picasso to Pollock and lays claim to another that begins with Duchamp and continues through Warhol into the present, a new avant-garde whose praxis will be bound to theory not metaphor.