TABLE OF CONTENTS

Adriano Pedrosa

CONTEMPORARY ART INSTITUTIONS perpetually run the risk of inadequately performing their fundamental task of exhibiting work that artists are currently producing—and so are doomed, in a sense, to become ossified and therefore outmoded in the face of newly emerging formats and processes favored by each new generation of artists with access to unprecedented technologies of production and installation. Although drawings and paintings everywhere fit into white cubes, some other artworks require conditions that traditional institutions are rarely able to offer. Some exhibition spaces have fostered or even brought into being such new kinds of work: One may think of the parkland in Münster, the pavilions in Venice, and the Turbine Hall at Tate Modern in London as privileged sites due to the physical, topographic, or financial resources they make available to artists—even if such venues tend to be

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