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Hall (The World as Sculpture; Michelangelo and the Reinvention of the Human Body) analyzes the cultural, anthropological, theological, literary, and other symbolism of left and right in Western art from antiquity to the 20th century, which he feels has been an unexplored dimension of art criticism. He considers some of the standard conventions that originated with the ancient Greeks (left equals bad, female, darkness; right equals good, male, light) and then looks at how Renaissance artists dramatized left-right distinctions. Hall goes on to discuss the decline of the artistic importance of left-right symbolism in the 19th and 20th centuries but sees a revival as great artists view left-right distinctions as a "radical tool that can imbue their work with awesome primitive power." Although dozens of key works of art are reproduced here, the reader will want to have a computer or a heavily illustrated art history volume to follow Hall's comments on works that are omitted. A provocative piece of social and intellectual criticism; recommended for academic and special art library collections.