Bosker outlines her journey from art skeptic to determined investigator of the fine art world. While she was initially dismissive of art’s importance, she rediscovered her childhood passion for creativity after finding her grandmother’s watercolor paintings—specifically, dancing carrots—that held deep significance as artifacts from a World War II displaced persons camp. This discovery prompted Bosker to question her highly structured life in New York and investigate why art might be essential rather than merely decorative.

As she attempts to understand the contemporary art scene, she encounters significant resistance from industry insiders. Gallery owners, artists, and curators—collectively known as “the Heads”—express reluctance to speak openly about their work, with some refusing to go on record entirely. Their reticence only intensifies her curiosity about whether the art world harbors profound insights or perpetrates an elaborate deception.

The introduction establishes key distinctions in art terminology, explaining that while “modern art” encompasses works from approximately 1860-1970, “contemporary art” refers to subsequent creations. Bosker acknowledges her initial struggles, describing her discomfort at gallery openings and her inability to appreciate installations that other viewers found profound. This led her to question the concept of “visual literacy” and its importance in an increasingly image-saturated world.