Jan Avigkos

  • “The Crystal Stopper”

    In the ’80s, both the art market and the institutions that supported it expressed a sudden interest in the marginal, embracing a plethora of critical viewpoints on race, class, and gender. What was political and social in art was also what made it relevant and hence “real.” But with the recent move away from “multiculturalism” toward “globalization,” the affirmation of difference has been shown to mask a propensity to traffic in stereotypes, raising oddly nagging questions. Is there really an “African-American” or “Latino” art? Are “artists of color” required to speak about ethnic experience?