It has been clear to me for some time that a new standard of art criticism is needed to assist the present-day revaluation of Art. A constant examination of advanced pictures has shown me that the key to revaluation resides in the ultimate effect attained by the new “masters.” In studying this effect I have become aware of certain facts. (1) The effect is one of solid motion at a greater intensity than is found in actuality. It is solid motion actually exaggerated. (By solid motion, I mean motion expressed by actual forms.) (2) The greater the intensity the more it tends to obliterate actuality. (3) There is a fluid motion behind phenomena. This motion informs phenomena but loses its intensity when it becomes phenomenalized. It changes its character from fluid motion to solid motion, as though undergoing a process of conversion similar to that by which water is frozen into ice. (4) The meaning of the attainment of the said effect would therefore seem to be that solid motion, as expressed by artists, is being melted into fluid motion, as ice is melted into water, and water is, in turn, converted into steam. Moreover, the solid motion is being melted by the higher intensity of the fluid motion. In other words fluid motion is converting solid motion into its own flow, or that from whence solid motion came. The conclusion is that the quest for intensity is a sign that artists are awakening to a feeling for fluid motion behind solids. Perhaps artists are becoming purer mediums. It is conceivable that the revolt against academic formulae and the consequent movement towards neo-primitivism, have had a refining influence. In ridding artists of certain forms of culture and convention, they have removed inner obstacles to the intense stream-line flow or fluid motion, and have made them accessible to the motion itself. Hence the present-day pursuit of abstraction in painting and the tendency of representative forms (i. e.: solids) to disappear from the canvas and to be replaced by non-representative forms (i. e.: fluids). As an example I may point to the shadowy forms pursued by Kandinsky. It is true that many of Kandinsky’s studies do not contain evidence of fluid motion working freely through the artist and tracing its own designs on his canvas. In his earlier studies he certainly expresses solids. He puts down forms which the conventional memory recognizes as having a relation to the known, and thereby defeats his own object. But his recent studies exhibit a refining away of solids and a larger feeling for fluidity, that leads one to believe the artist is striving for a true dream-like state in which the fluid motion is left to express itself at its own degree of intensity. Whether he will ever attain this state is uncertain as yet, especially in view of the intellectual attitude of his writings. In _Spiritual Harmony_, for instance, he is seen working out a scheme of color thus showing he hopes to produce an effect upon the spectator by