（A） defining the Modernist attitude toward art

　　（B） explaining how photography emerged as a fine　art after the controversies of the nineteenth　century

　　（C） explaining the attitudes of serious contemporary　photographers toward photography as art and　placing those attitudes in their historical context

　　（D） defining the various approaches that serious　contemporary photographers take toward their　art and assessing the value of each of those　approaches

　　（E） identifying the ways that recent movements in　painting and sculpture have influenced the　techniques employed by serious photographers

　　22.Which of the following adjectives best describes　“the concept of art imposed by the triumph of　Modernism“ as the author represents it in lines25-27？

　　（A） Objective

　　（B） Mechanical

　　（C） Superficial

　　（D） Dramatic

　　（E） Paradoxical

　　23. The author introduces Abstract Expressionist　painters （lines 34） in order to

　　（A） provide an example of artists who， like serious　contemporary photographers， disavowed traditionally accepted aims of modern art

　　（B） call attention to artists whose works often bear　a physical resemblance to the works of serious　contemporary photographers

　　（C） set forth an analogy between the Abstract　Expressionist painters and classical Modernist　painters

　　（D） provide a contrast to Pop artists and others who　created works that exemplify the Modernist　heritage in art

　　（E） provide an explanation of why serious photog-raphy， like other contemporary visual forms，is not and should not pretend to be an art

　　24.According to the author， the nineteenth——century　defenders of photography mentioned in the passage　stressed that photography was

　　（A） a means of making people familiar with remote　locales and unfamiliar things

　　（B） a technologically advanced activity

　　（C） a device for observing the world impartially

　　（D） an art comparable to painting

　　（E） an art that would eventually replace the　traditional arts