something else, but as an end in itself. Herbert Read was a champion of modern British artists such as Paul Nash, Ben Nicholson, Henry Moore and Barbara Hepworth and became associated with Nash's contemporary arts group Unit One. He focused on the modernism of Pablo Picasso and Georges Braque, and published an influential 1929 essay on the meaning of art in The Listener. He also edited the trend-setting Burlington Magazine (1933–38) and helped organise the London International Surrealist Exhibition in 1936. Since 1945 As in the case of Baudelaire in the 19th century, the poet-as-critic phenomenon appeared once again in the 20th, when French poet Apollinaire became the champion of Cubism. Later, French writer and hero of the Resistance André Malraux wrote extensively on art, going well beyond the limits of his native Europe. His conviction that the vanguard in Latin America lay in Mexican Muralism (Orozco, Rivera and Siqueiros) changed after his trip to Buenos Aires in 1958. After visiting the studios of several Argentine artists in the company of the young Director of the Museum of Modern Art of Buenos Aires Rafael Squirru, Malraux declared the new vanguard to lie in Argentina's new artistic movements. Squirru, a poet-critic who became Cultural Director of the OAS in Washington, D.C., during the 1960s, was the last to interview Edward Hopper before his death, contributing to a revival of interest in the American artist. In the 1940s there were not only few galleries (The Art of This Century) but also few critics who were willing to follow the work of the New York Vanguard. There were also a few artists with a literary background, among them Robert Motherwell and Barnett Newman who functioned as critics as well. Although New York and the world were unfamiliar with the New York avant-garde, by the late 1940s most of the artists who have become household names today had their well established patron critics. Clement Greenberg advocated Jackson Pollock and the color field painters like Clyfford Still, Mark Rothko, Barnett Newman, Adolph Gottlieb and Hans Hofmann. Harold Rosenberg seemed to prefer the action painters such as Willem de Kooning and Franz Kline. Thomas B. Hess, the managing editor of ARTnews, championed Willem de Kooning. The new critics elevated their protégés by casting other artists as "followers" or ignoring those who did not serve their promotional goal. As an example, in 1958, Mark Tobey "became the