“POP AFTER POP” ASSUMES THAT I KNOW WHAT “POP” IS, that I know what “Art” means. I don’t.

Take, for example, “‘Transformer’: Aspekte der Travestie,” curated by Jean-Christophe Ammann, which ran from mid-March to mid-April 1974 at the Kunstmuseum Luzern, traveled, to Graz and to Bochum, and then, basically, disappeared into a poof of fairy dust. (I’ve found nothing other than the catalogue to prove the show existed—no ads, no international reviews, although there must have been some local art notices.) Incorporating and inspired by the work of Urs Lüthi, Luciano Castelli, Katharina Sieverding, Jürgen Klauke, Werner Alex Meyer, Luigi Ontani, Walter Pfeiffer, Marco, Pierre Molinier, Andrew Sherwood, the Cockettes, Andy Warhol, Brian Eno, Mick Jagger, the New York Dolls, and David Bowie, the show charted a drag zone between the masculine and feminine, a “between” it complicated and allegorized

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