Fail Better: Reckonings with Artists and Critics (Paperback)

From the distinguished art critic and historian, vital essays on key artists and critics, revealing how they redefined art and criticism over the last six decades.

“Serious art anticipates the future as much as it reflects the present,” Hal Foster remarked in a 2015 interview. “By the same token serious art history is driven by the present as much as it is informed by the past.” In Fail Better, Foster, an art critic and historian whose influential work spans disciplines and decades, brings this peripatetic perspective to contemporary art, art criticism, art history, and his own work over the past 50 years.

In these 40 texts, Foster reviews artists from Richard Hamilton and Jasper Johns to Gerhard Richter and Ed Ruscha; considers contemporaries from Louise Lawler and Cindy Sherman to Jeremy Deller and Adam Pendleton; and traces the development of criticism since the early 1960s, with essays on such influential figures as Susan Sontag and Rosalind Krauss and institutions like Artforum magazine and the Whitney Museum Independent Study Program.

Taking his title from Beckett—“try again, fail again, fail better”—Foster notes that, etymologically, an essay is always an attempt, more or less failed. Critics fail artworks, because there can never be a definitive reading; art fails its historical moment, because it cannot resolve the contradictions that prompt it. But in these failures Foster finds historical consciousness, and with it the promise of future work, future illumination. In his “reckonings” he turns his own long history of criticism to account, and succeeds in conveying shifting concepts of art and criticism, the work of key artists and critics, and the relationships between criticism, theory, history, and politics over the last six decades.

Reviews

Included in the Brooklyn Rail's Best Art Books of 2025


"Foster writes from the perspective of critical theory, exploring language in favor of its textual innovations and experiments, treating words as pliant and autonomous as the materials used by artists in the twentieth century, such as paint, photography, film, plexiglass, metal, textile, rubber, found objects, etc...In service of clarity in these seas of complex ideas, Foster’s writing and prose style has remained consistently probing, with provocative inquisitiveness for him and his reader alike. His maximal reaching for near perfection in translation of criticism and history has always been based on how great art is a result of the artist’s real struggle." —The Brooklyn Rail

About the Author

Hal Foster is the Townsend Martin Class of 1917 Professor of Art & Archaeology at Princeton University. He is the author of What Comes After Farce? and Brutal Aesthetics, among other books. A member of the American Academy of Arts and Sciences, he coedits October, and writes regularly for The London Review of Books.