of the History of Art. That same year, Foster became an editor of the journal October; he was still on the board as of 2011. In 1997 he joined the faculty of his undergraduate alma mater, Princeton University, in the Department of Art and Archaeology. In 2000 he became the Townsend Martin Professor of Art and Archaeology at Princeton. He chaired the Department of Art and Archaeology from 2005 to 2009. In September 2011 he was appointed to the search committee to find a new dean for Princeton's School of Architecture. He is a faculty fellow of Wilson College. Foster received a Guggenheim Fellowship in 1998. In 2010 he was elected a fellow of the American Academy of Arts and Sciences and awarded the Clark Prize for Excellence in Arts Writing by the Clark Art Institute. Spring 2011 he won a Berlin Prize fellowship of the American Academy in Berlin. In 2013–14 he was appointed practitioner in residence at Camberwell College of Arts in London. Criticism In his introduction to The Anti-Aesthetic (1983), Foster described a distinction between complicity with and resistance to capitalism within postmodernism. The book included contributions by Jean Baudrillard, Douglas Crimp, Kenneth Frampton, Jürgen Habermas, Fredric Jameson, Rosalind Krauss, Craig Owens, Edward Saïd, and Gregory Ulmer. In Recodings 1985, Foster focused on the role of the avant-garde within postmodernism. He advocated a postmodernism that engages in both a continuation of its historical roots in the avant-garde and contemporary social and political critique, in opposition to what he saw as a "pluralistic" impulse to abandon the avant-garde in favor of more aesthetically traditional and commercially viable modes. He promoted artists he saw as exemplifying this vision, among them Dara Birnbaum, Jenny Holzer, Barbara Kruger, Louise Lawler, Sherrie Levine, Allan McCollum, Martha Rosler, and Krzysztof Wodiczko. Foster favored expansion of the scope of postmodernist art from galleries and museums to a broader class of public locations and from painting and sculpture to other media. He saw postmodernism's acknowledgment of differences in viewers' backgrounds and lack of deference to expertise as important contributions to the avant-garde. By the mid-1990s, Foster had come to believe that the dialectic within the avant-garde between historical engagement and contemporary critique had broken down. In his view, the latter came to be preferred over the former as interest was elevated over quality. In The Return of the Real (1996), taking as his model Karl