Robert Cenedella has always stood just outside the center of American art. Shaped by a formative mentorship with George Grosz, Cenedella built a career that resisted easy categorizationmoving between painting, conceptual practice, murals, and advertising while consistently challenging art-world orthodoxies.A provocateur in the press and gallery, he regularly made headlines: in the tabloids for the shows removal of his crucified Santa painting, in The New York Times for selling shares in a single painting. A Big Yes and a Little No is the first comprehensive account of this career, from his early days at the Art Students League of New York to Yes Art, his satirical art movement in which he positioned himself as the anti-Warhol. Based on extensive interviews with the artist and featuring a foreword by Cenedella himself, this book brings together full-color reproductions of paintings, murals, archival photographs, and exhibition ephemera, with accompanying writing explaining his critiques of consumerism and art trends, the anxieties of the Atomic Age, his upbringing and mentorship, and how his work has consistently run up against the shifting political and social landscape of postwar America.A Big Yes and a Little No offers a richly contextual portrait of an artist who worked across systems by brilliantly critiquing them. Part biography, part visual archive, and part cultural history, it demonstrates how a career built at the margins can illuminate the center of American art. Photograph courtesy Wikimedia Commons Robert Cenedella studied at the Art Students League of New York and was mentored by George Grosz. He gained recognition for his paintings of the Atomic Age; illustrations for The Communist Manifesto; his satirical Yes Art series and murals for Le Cirque. Career highlights include a a show at Gallerie Am Scheunenviertel called “Cenedella meets Grosz in Berlin,” which coincided with the George Grosz 100th Anniversary Exhibition, a theater piece for Tony Randall, exhibitions at the Chteau de Bagatelle, and a one-man show at Saatchi & Saatchi. A full retrospective of his political works was sponsored by The Nation Institute in 2003. The 2016 documentary Art Bastard brought renewed attention to his work. Cenedella is working on what he considers his most important political painting, “Immigrants are poisoning the BLOOD OF AMERICA.”