THE EMERGENCE OF POSTCOLONIALISM during the 1960s, which marked the delegitimization of Western modernism’s utopian and universalist project, was accompanied by an eclipse of medium-specificity—something that had in the pre- ceding decades been central to both the production and the criticism of American and European art. Rejecting the self-referentiality of the art object, site-specific Conceptual practices and early forms of institutional critique instead put forward the analysis of modern exhibition conventions (and the ideologies sustaining them) as the ineluctable context and precondition of aesthetic experience and as a tool with which to explore the intricate interrelations of artistic and mass-cultural codes. Today, however, such a radical debunking of modernism’s claims to autonomy and hegemony is itself the subject of undergraduate textbooks. To use art historian Hal Foster’s

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