Juliana Engberg


    IN 1971, Hans Haacke set out to expose two decades of unscrupulous activities by one of New York City’s biggest slumlords. Shapolsky et al. Manhattan Real Estate Holdings, a Real Time Social System, as of May 1, 1971 employed methodologies and styles familiar to Conceptual art to illuminate, and thus put pressure on, the deceptions that undergird modern economic power. Haacke made it for his solo show that year at New York’s Solomon R. Guggenheim Museum, which was canceled six weeks before the opening.

    The contest between artists and institutions over mechanisms of support was hardly new when