275 illustrations, including 98 in color. Bound in the publisher's original red cloth with the front cover stamped in blind and the spine stamped in gilt. The decades between the two world wars were a period of almost forgotten efforts to revive and preserve the American craft traditions of the previous three centuries. This companion book to a current exhibit at the American Craft Museum in New York is a series of essays by art historians covering the crafts of Colonial Revivalists, African Americans, Native Americans, Hispanic Americans, and others. The photographs are excellent, as is a separate list containing short biographies, descriptions of schools, and other resources. This is a useful survey, although more information on the governmental Public Works Administration and Work Projects Administration projects of the 1930s, particularly at the state level, would have been useful. Highly recommended for general as well as decorative arts collections. Constance Ashmore Fairchild, Urbana, Ill. Copyright 1994 Reed Business Information, Inc. America's grand and diverse craft tradition came close to extinction after industrialization and mass production were firmly established, but a variety of factors, especially the Great Depression, turned the tide just in time. Editor Kardon, director of the American Craft Museum, launched an ambitious survey of the history of twentieth-century craft that has generated the exhibit this fine book so beautifully documents. The plates are superb, and the essays about five distinct craft communities during the critical period 1920 through 1945 are outstanding. The forces behind the revival and survival of African American, Appalachian, Hispanic, Native American, and Colonial Revival crafts are discussed by various experts from intriguingly fresh perspectives. In general, crafts were revived to provide people with income and an opportunity for self-improvement, but the machine age also gave rise to a new longing for handmade objects. It also ushered in the automobile age, which, in turn, generated tourism and a market for regional crafts. The other side of the coin, also well explored, is how that demand affected traditional designs within the context of each group. The works discussed include Colonial Revival furniture, closely tied to FDR's WPA projects and Eleanor Roosevelt's Val-Kill workshop; African American ceramics and baskets; Appalachian quilts; Hispanic carved wood furniture and Puerto Rican lace; and Southwest Indian pottery and textiles. Donna Seaman