Greenberg's way of assessing how an art object works, or how it is put together, became for Krauss a fruitful resource; even if she and fellow "Greenberger", Michael Fried, would break first with the older critic, and then with each other, at particular moments of judgment, the commitment to formal analysis as the necessary if not sufficient ground of serious criticism would still remain for both of them. Decades after her first engagement with Greenberg, Krauss still used his ideas about an artwork's 'medium' as a jumping-off point for her strongest effort to come to terms with post-1980 art in the person of William Kentridge. Krauss would formulate this formalist commitment in strong terms, against attempts to account for powerful artworks in terms of residual ideas about an artist's individual genius, for instance in the essays "The Originality of the Avant-Garde: A Postmodernist Repetition" and "Photography's Discursive Spaces." For Krauss, and for the school of critics who developed under her influence, the Greenbergian legacy offers at its best a way of accounting for works of art using public and hence verifiable criteria.