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1000 WORDS: ALICE CREISCHER, MAX JORGE HINDERER, AND ANDREAS SIEKMANN

FOUR DECADES AFTER ITS BIRTH, the art of institutional critique—that refractory offspring of 1960s site-specificity and Soviet factography—is under considerable pressure to settle into docile middle age. Of course, institutional critique’s once radical strategies were absorbed into the canon almost immediately after they were introduced; but increasingly, it seems, they are invoked in purely formal fashion by artists who seek legitimation via recourse to a heroic past. At the same time, there is a renewed intensity in the scholarly push for historicization, via a wave of anthologies, conferences, exhibitions, and so on.

Alice Creischer and Andreas Siekmann’s artistic practice, which encompasses curatorial projects as well as critical writings, cannot but appear anachronistic in this context—anachronistic, however, in the best sense. Since the 1990s, their work (which often involves

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