Scholars and researchers have long believed that the ability to irrigate is crucial to the development of civilizations. In this book, archaeologist Patrick Kirch challenges this "hydraulic hypothesis" and provides a more accurate and detailed account of the role of "wet" and "dry" cultivation systems in the development of complex sociopolitical structures.

Examining research on cultural adaptation and ecology in Western Polynesia and utilizing extensive data from a variety of important South Pacific sites, Kirch not only reveals how particular systems of production developed within the constraints imposed by environmental conditions, but also explores the tension that arises between contrasting productive systems with differential abilities to produce surplus. He shows that the near total neglect of short-fallow dryland cultivation, as well as arboriculture, or tree-cropping, has seriously distorted the picture that archaeologists and anthropologists have of agricultural intensification and its relation to complex social structure.

This work, likely to become a classic, will be central to all future discussions of the ecology and politics of agricultural intensification.

Taking aim at the mostly male bastion of art theory and criticism, Mira Schor brings a maverick perspective and provocative voice to the issues of contemporary painting, gender representation, and feminist art. Writing from her dual perspective of a practicing painter and art critic, Schor’s writing has been widely read over the past fifteen years in Artforum, Art Journal, Heresies, and M/E/A/N/I/N/G, a journal she coedited. Collected here, these essays challenge established hierarchies of the art world of the 1980s and 1990s and document the intellectual and artistic development that have marked Schor’s own progress as a critic.
Bridging the gap between art practice, artwork, and critical theory, Wet includes some of Schor’s most influential essays that have made a significant contribution to debates over essentialism. Articles range from discussions of contemporary women artists Ida Applebroog, Mary Kelly, and the Guerrilla Girls, to "Figure/Ground," an examination of utopian modernism’s fear of the "goo" of painting and femininity. From the provocative "Representations of the Penis," which suggests novel readings of familiar images of masculinity and introduces new ones, to "Appropriated Sexuality," a trenchant analysis of David Salle’s depiction of women, Wet is a fascinating and informative collection.
Complemented by over twenty illustrations, the essays in Wet reveal Schor’s remarkable ability to see and to make others see art in a radically new light.