This review doesn’t matter: the exhibition’s potential is confirmed by its existence rather than by its content. Conceptual art, after all, inherently bypasses criticism. Judging it is less interesting than following through on its ideas—ideas that reveal the invisible apron strings of the “real world’s” power structures. But don’t take my word for it. Take it from Lippard, the pioneering art historian whose words I have quoted, almost verbatim, in the preceding sentences.

Lippard was fundamental in establishing the free-for-all that is today’s mainstream art world—a milieu rife with woolly intellectualizing, political posturing, and (ahem) “aleatory strategies [that] de-center the authorial function and thus reevaluate the role of logical argumentation and hermeneutics as the guarantors of aesthetic function.” The exhibition takes its title...


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