During the 1960s, a young black man in a university class described the Dutch painters of the seventeenth century as "belonging" to the white students in the room, and not to him. This idea was seized upon by white members of the class. They acknowledged that they were at one with Rembrandt. They acknowledged their dominance. They offered to discuss, at any length, their inherited power to oppress. It was thought at the time that reactions of this type had to do with "white guilt" or "white masochism". No. No. It was white euphoria. Many, many children of that day felt the power of their inheritance for the first time in the act of rejecting it, and they insisted on rejecting it and rejecting it and rejecting it, so that they might continue to feel the power of that connection. Had the young black man asked, "Who is this man to you?" the pleasure they felt would have vanished in embarrassment and resentment.
George W.S. Trow, "Within The Context of No Context"