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TEN YEARS AGO, urban theorist Saskia Sassen wrote that cities “that are strategic sites in the global economy tend, in part, to disconnect from their region.” She was speaking in strictly economic terms, but as Pamela M. Lee and others have observed, the process of globalization in the cultural realm has largely marched alongside capitalist business ventures. Today the structures of the art communities in New York and London have more in common with each other than, say, New York has with Detroit or London has with Leeds. The international art world (however one defines that nebulous term) seems willing to make occasional exceptions to this economically dominant order in the name of “radical hybridity,” bringing additional international exposure to artists in far-flung locales. But art communities in cities that are neither fully woven into the new, transnational economic network nor

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