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Beep Beep

IN THE RUSH to herald a paradigmatic shift in feminist practice, a number of curators seem to be championing work that turns away from a prior body of mediatized feminist art (the work of Barbara Kruger, Louise Lawler, Sherrie Levine) and lays claim to an expanded esthetic arena. In many instances this purported shift seems to be founded on a relatively naive raiding of conventional esthetic forms—naive because the appropriation of painting and sculpture can no longer claim legitimacy simply as a “colonization” of “phallocentric” forms of Modernism.

The certainty with which curators have embraced this unsatisfying strategy actually serves to reestablish the unfortunate duality of form versus content: either the works seem to engage merely formal issues or the form becomes nothing more than a vehicle of propaganda. On the one hand, one is faced with the question of whether each new assault

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