TABLE OF CONTENTS

PRINT October 1987

THINGS THAT GO BUMP

LISA LIEBMANN

Discombobulated and cacophonous, with a populist bent, Documenta 8 was almost entirely free of the lofty airs that surrounded its elegant, smug predecessor in 1982, and that to some degree hovered over many of the more ambitious and large-scale international exhibitions in the five years since. Absent, for instance, was any sense of highbrow intellectualism or formalism, and gone as well the sense of giddy congruence with recent commercial, critical, and promotional dicta. Painting, for one, seemed relatively scarce, and while classicism and mannerism, minimalism and expressionism, architecture and design, art including self-conscious appropriation, art involving mechanical and electronic media, and art consisting of functional or decorative objects were all to be found, they were not to be addressed as discrete genres, nor positioned like so many camps at war. One of this

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