The Kodak Years: Experimenting with Color
American Photography, at least into the early 1950s, was still suspicious of "modernism." They continued to champion the camera clubs and were totally addicted to the ritual of the "the salon." Further, they still, even at this late date, extolled the wonders and marvels of stereography and the eternal and unassailable preeminence of pictorialism over all other forms of photographic expression.
And yet, Stieglitz was their uber-god and the editors not only recognized the worth of the work of Strand, Weston and Adams, but also would frequently use their names as touchstones for one arguement or another. They rarely ran any of their work though and usually did not include them in any list of the "best photographers since the invention etc."