TABLE OF CONTENTS

Diedrich Diederichsen

Florian Pumhösl, Tract, 2011, stills from a color film in 16 mm, 9 minutes.

OVER THE PAST FEW YEARS, it seems an increasing number of shows have given rise to vehement debate. Such debate has often been both informal and productive: Conversational circles that for years enjoyed consensus on the merits of this or that exhibition are now having to reevaluate their views in light of new controversies. The largely tedious legibility of rooms filled with art—tedious because we now read them automatically—has been repeatedly upturned, as is evident not only in a surprising plurality of readings but also in almost physical responses on the part of viewers. And while it sometimes seems that everything that happens in the art world is recorded and stored, this phenomenon was not: The casual conversations diverged markedly from discussions about the same exhibitions in art journals. Yet another commonality shared by these exhibitions—which I often

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