well beyond the usual pieties regarding its anti-art stance.Baker attends to Picabia's productive innovation in the Paris Dada moment,showing that it was through form that Picabia remade modernism from themedium up."
—David Joselit, Yale University

"The contradictions that crease the surfaces and form the actual texture of art practice are too often glossed over in the historian's rush to coherence. George Baker is one of a very few art historians capable of writing for artists, making artists the primary beneficiaries of their thinking, and also writing for the purposes of inciting new artistic production even while removing the artist-subject from the center of the scene. Caught by the Tail is a brilliant example of how to surprise us by lingering a little longer at the scene of the crime."
—Gareth James,"You know him, he's yours: Bob Dylan." It's hard to imagine a more ironic introduction, but those were the words used by Ronnie Gilbert of The Weavers to introduce Dylan at the 1964 Newport Folk Festival. "What a crazy thing to say!" Dylan wrote in his memoir, Chronicles. "Screw that. As far as I knew, I didn't belong to anybody then or now." A year later at Newport he made his point loud and clear. They didn't know him, and he wasn't theirs.

On July 25, 1965 Dylan shocked the folk purists at Newport by plugging his Fender Stratocaster into an amplifier and joining guitarist Mike Bloomfield and others from the Butterfield Blues Band in a blistering rendition of "Maggie's Farm," a song often interpreted as Dylan's protest song