PRINT January 1996


Christopher Knight’s Last Chance for Eden

Most daily-newspaper art critics are at least readable because they arrive at their desks from places like J-school, the city beat, or the sports department, where plain English is still spoken. But they’re often either ignorami who don’t know Kunst from Koons or “arts writers” forced by broadsheet downsizing to cover everything from the local woodwind quintet to installation art based on Lacanian reconsiderations of gender transgression (one of my favorites). So, with notable exceptions, they have nothing of interest to say to anyone in the art world. Art-critic art critics, on the other hand, are given to stringing together sentences like (chosen practically at random from the first art magazine I found on the shelf): “Beyond this partial, post-fem vision, the artist’s output makes a clear statement regarding the complex construction of the subject in contemporary societies, wherein the

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