In this essay for the exhibition catalogue of MoMA’s collection, Adler surveys definitions of art of the United States in the Museum prior to the canonization of Abstract Expressionism. Drawing on the Museum’s archive, she sheds light on museum founder and director Alfred H. Barr Jr.’s collecting priorities; internal struggles with trustees; political controversies related to figurative artists’ associations with left and right-wing groups; and competition with New York City museums. Adler argues that Barr’s creation of a taxonomy of vanguard modern art, understood as European, coincided with his classification of characteristically “American Art.” Within the latter category were self taught and “folk artists,” and others working in various figurative styles. (MMB)