（A）The photographers' belief that their reliance on　an impersonal machine to produce their art　requires the surrender of the authority of their　personal vision

　　（B）The photographers' fear that serious photography　may not be accepted as an art by the contem-　porary art public

　　（C）The influence of Abstract Expressionist painting　and Pop Art on the subject matter of the mod-　ern photograph

　　（D）The photographers' belief that the best art is　subversive of art as it has previously been　defined

　　（E）The notorious difficulty of defining art in its　relation to realistic representation

　　26.According to the passage， certain serious contempo-　rary photographers expressly make which of the　following claims about their photographs？

　　（A）Their photographs could be created by almost　anyone who had a camera and the time to　devote to the activity.

　　（B）Their photographs are not examples of art but　are examples of the photographers' impartial　observation of the world.

　　（C）Their photographs are important because of

　　their subjects but not because of the responses　they evoke in viewers.

　　（D）Their photographs exhibit the same ageless　principles of form and shading that have been　used in painting.

　　（E） Their photographs represent a conscious glori-　　fication of the mechanical aspects of twentieth-　century life.

　　27.It can be inferred from the passage that the author　most probably considers serious contemporary photography to be a

　　（A） contemporary art that is struggling to be　accepted as fine art

　　（B） craft requiring sensitivity but by no means　an art

　　（C） mechanical copying of reality

　　（D） modern art that displays the Modernist tendency　to try to subvert the prevailing aims of art

　　（E） modern art that displays the tendency of all　Modernist art to become increasingly formal　and abstract