Like so many fields of art history, the study of seventeenth-century Netherlandish art was energized two decades ago by a new awareness that business as usual--Berensonian connoisseurship, Wolfflinian history of style, Panofskian iconography--would no longer do. With hindsight, it is obvious that these three founding investigative modes of our discipline were bound to lose some efficacy in the historical moment when all structures of analysis that mask their Western, middle-class ...