2 SOCIAL SCIENTIST Devangana Desai, the art historian, writing about the 'Social Dimensions of Art in Early India', cuts out the rhetoric. Instead masses of data are allowed to form a puzzle which is precisely what makes the investigation elusive after all. In a brick by brick knowledge of a culture's artistic production, there is a destinal effect to be understood. Belonging (via Niharranjan Ray) to a grand tradition of social history in Indian art, Devangana Desai lays out entire geographies of routes and cross-routes along which artistic activity manifested itself from ancient to medieval times. She calls it by its name: the infrastructure, literally the production relations, of the given societies and then charts the civilizational effort it made possible. These essays written for different occasions do not by any means make up a theme, but a thematic reading is possible. It may be a task that we may have to perform more and more: to dislocate the elements in the deep structure of this elaborate text we call Indian civilization; to free its traditions and make them productive for a present purpose. Kumar Shahani presented this paper as the Damodaran Lecture at the Jawaharial Nehru University, Delhi; my paper is part of the proceedings of the III Havana Biennale and it was delivered as the Alam, Khundmiri Memorial Lecture at Hyderabad this year; Devangana Desai presented this paper at the 50th session- of the Indian History Congress held at Gorakhpur University in December 1989. GEETAKAPUR ERRATA Social Scientist—Vol. 17, Nos. 9-10, September-October 1989 'Education Old and New—A Perspective', by Badri Raina p. 5 Insert in line 11, after the word 'forging': (new configurations of the elite and the labouring in accordance...) p. 5 Insert in line 26, after the words 'hegemony of: (such social groups who had all important access to the frustrating...) p. 13 Insert in line 28, after the word 'above': (the balance of class forces and to the extent that it must always...)