PRINT Summer 1991


STRATEGIES ASSOCIATED WITH the various movements of Conceptual art that flourished in the late ’60s and early ’70s have been enjoying a renascent vogue. Although this “neo-Conceptual” trend frequently mimes the gestures of the vintage movement, the intransigence that suffused Conceptualism’s attitude toward the art object and its institutional supports today seems almost wiped out. As with the neo-Expressionism of a decade ago, the “neo” is the badge of a process of reifying dehistoricization: the recuperation of Conceptualism as mere style. It is against this desultory background of unreflective and noncritical “crtique” that Andrea Fraser’s funny brand of performance art emerges.

At her best, Fraser manages to sustain a tremor of that precious discomfort about art and its institutions that Conceptualism initially fostered. Like Daniel Buren and Michael Asher, and more recently Louise

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