I find it surprising that there‘s such an aversion to addressing the “new historicism” in the biennial. It seems to me that this is talking very explicitly about the contemporary political and social climate. The interest in the pastand concurrent disinterest in the futurebeckons an obvious, possibly trite, surrender to the post-9/11 world and failures of capitalism. So, while it may not be as immediately obvious as some other art, the interest in the past is maybe more of a commentary on today’s climate than anything else.