25.According to the passage， which of the following
best explains the reaction of serious contemporary
photographers to the question of whether photogra-
phy is an art？
（A）The photographers' belief that their reliance on
an impersonal machine to produce their art
requires the surrender of the authority of their
personal vision
（B）The photographers' fear that serious photography
may not be accepted as an art by the contem-
porary art public
（C）The influence of Abstract Expressionist painting
and Pop Art on the subject matter of the mod-
ern photograph
（D）The photographers' belief that the best art is
subversive of art as it has previously been
defined
（E）The notorious difficulty of defining art in its
relation to realistic representation
26.According to the passage， certain serious contempo-
rary photographers expressly make which of the
following claims about their photographs？
（A）Their photographs could be created by almost
anyone who had a camera and the time to
devote to the activity.
（B）Their photographs are not examples of art but
are examples of the photographers' impartial
observation of the world.
（C）Their photographs are important because of
their subjects but not because of the responses
they evoke in viewers.
（D）Their photographs exhibit the same ageless
principles of form and shading that have been
used in painting.
（E） Their photographs represent a conscious glori-
fication of the mechanical aspects of twentieth-
century life.
27.It can be inferred from the passage that the author
most probably considers serious contemporary
photography to be a
（A） contemporary art that is struggling to be
accepted as fine art
（B） craft requiring sensitivity but by no means
an art
（C） mechanical copying of reality
（D） modern art that displays the Modernist tendency
to try to subvert the prevailing aims of art
（E） modern art that displays the tendency of all
Modernist art to become increasingly formal
and abstract
