PRINT Summer 2010



FOR YEARS, I’ve periodically wondered about the merits of organizing an issue of Artforum around a single, relatively straightforward question: What is art today? That project never came to pass, of course, for reasons probably easy enough to imagine. The subject of inquiry is at once much too simple and much too complex, very specific and yet so broad and abstract as to seem nearly impossible to tackle. Most important, however, the question by itself induces no small amount of embarrassment. It requires that we make no assumptions and take nothing for granted regarding generally agreed-on understandings of art and its operations, whether in the studio, the classroom, the boardroom, or the museum, or behind the gallery desk. One must be willfully naive even while recognizing that critical discussions and artistic maneuvers that would seem to depart from or elaborate on such conventions

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