Network theory is described in the structural relationship of things quite familiar to all of us now, as terms we hear all the time: hubs, nodes, dropped signals, latency, software protocols, “handshakes” between data transmissions, etc. We all carry sleek digital devices in our pockets that offer instant and endless connection. If, as citizens of the twenty-first century, we’re to make what I’ll call living sense of the art made a century ago—the classic art of modernism—it’s useful to see it in relation to our present, even if this is anachronistic. After all, culture has changed, and how we live and think now, how we experience time and spatial relationships in the age of the internet, is profoundly different. So, what was understood as an art about things broken down into fragments can also be seen as distinct parts in linked structures. This investigation of modernism shows that the nascent idea of linkages, of what I call proto-networks, is there in the art and in the ways in which artists perceived and expressed what was happening to them in the world and what the world could look like through their art as a form of revision. I try to give highly specific examples in Unseparate of such works of art and the writing these artists did in essays, letters, diaries, and manifestos to establish the idea of network aesthetics as a way to read this counter-strand in modernism, away from fragmentation and ultimately toward works that ascribe to varied notions of networked wholes that are the basis of a great deal of art today, with its tendency in many artists’ practices to join artistic disciplines together in unified interdisciplinary works.