J.M. Nash portrays Cubism, Futurism and Constructivism almost as an adolescent phase in the history of art. The subtle differences between philosophies of each movement create grounds for arguments. Nash gives examples of catty insults thrown by artists, dismissing the other movements' philosophies and techniques. Each movement strives to widen the separation from the others and distinguish itself as unique, "to appear to be totally original"(159). Cubism comes across as cliquey, with inside jokes and secret meetings. Although both Picasso and Georges Braque developed Cubism, Picasso's "gang" of followers "ignored or belitled Braque's role in the genesis of Cubism"(161). Braque was exluded from their club. Futurism seems to be rebelling for the sake of rebelling. The eleven principles of the 'Founding and First Manifesto of Futurism' establish Futurism's philosophy as whatever is currently not accepted. Futurists were fighting The Man. While Cubism was a secret, exclusive movement, Futurism was confrontational. It seems that it was attention hungry, demanding attention positive or negative. As Nash says, "it lived on publicity"(177). Despite this almost childish behavior, these movements were crucial to the development of modern art, and the artists leading these movements are seen as artistic geniuses.