“Post Human”

A new race of humanoids was spawned in the ’60s. Think of Lichtenstein’s boneless, fleshless housewives, Segal’s mummified city dwellers, Wesselmann’s faceless, airbrushed sex toys. But the tribe kept increasing, as witnessed not just in mutant art, but also in the fin de ’80s tabloids—e.g. Jocelyn Wildenstein’s shrink-wrapped visage. And by now, the human race really is an endangered species. In 1992, this eerie evolution was freeze-framed in a landmark exhibition curated by Jeffrey Deitch. “Post Human,” whose yearlong itinerary—Lausanne, Turin, Athens, Hamburg, Jerusalem—may have bypassed the big-time art capitals, garnered a ream of notices in the European press. Media theorist Mckenzie Wark, writing two years later in World Art, found abstruse philosophical flaws in Deitch’s conception of the human and the natural, while a certain Stefano Casciani (reporting for Abitare, Nov. 1992)

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