TABLE OF CONTENTS

Signs

Artistic representation is proclaimed (and enforced) as “pure” (profound) in the same process in which “propaganda”—previously an open political rhetoric—is . . . transformed into fetishized, irrationalist representation centered . . . around commodities and fantasy figures. . . . The transformation of [the] older political discourse of bourgeois democracy of Europe into [the] new advertising discourse of Fascist/Democratic Europe/America . . . is centered in . . . Hollywood and Madison Avenue. . . . “Propaganda” [is placed] . . . on a more subjectified footing through . . . cinematic techniques with their links to experimental (and depth/dream) psychology.

Jeff Wall, Problems1

A 1978 EXHIBITION BY Jenny Holzer at the Franklin Furnace in New York was juxtaposed with the appearance of Holzer’s printed statements in variously-sized posters on nearby public walls. “Street art” met “gallery

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