TABLE OF CONTENTS

Tim Griffin

Jacqueline Humphries, :-/, 2014, oil on linen, 9' 6“ × 10' 7”.

FOR MORE THAN A DECADE, the art world has been fascinated with Luc Boltanski and Ève Chiapello’s New Spirit of Capitalism (1999), making all the more striking the degree to which that volume’s single chapter devoted to art—more specifically, to the fate of artistic critique—has been ignored. For the predicament of critical models in contemporary art still finds a clear corollary in the authors’ description of corporate culture in France after May 1968.

As Boltanski and Chiapello propose, corporations operating in the wake of that populist uprising genuinely sought to satisfy protesters’ demands that personal creativity and expressivity be afforded roles in the workplace—and those corporations, to their managers’ great surprise, soon recognized that such subjective freedom was a source of increased productivity and economic value. In turn, business culture’s embrace

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