Doubtless, the first questions that will greet this book will concern the strange juxtaposition announced in its very title. Collage, the technique “invented” (more on those scare quotes in a bit) by Braque and Picasso in 1911 and 1912, has been taken by a long tradition of readers, including such venerable names as Golding, Fry, and Greenberg, as the quintessential modernist art. How, then, to justify its centrality in a discussion of the postmodern?