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“Richard Prince: The Douglas Blair Turnbaugh Collection (1977–1988)”

Richard Prince, Self-Portrait with a Spade, 1973–74, gelatin silver print, offset print and ink on board, 12 × 18".

ON JULY 28, 2016, Richard Prince retweeted an item from curator Marvin Heiferman’s feed about a $1 billion copyright-infringement suit that photographer Carol Highsmith had just filed against the stock-photo agencies Getty and Alamy, charging “gross misuse.” Earlier that day, Prince had tweeted a picture of a slightly enlarged black-and-white photocopy of his short 1977 text “Practicing Without a License.” He commented: “Feel like I got hacked. Or waxed. Or whacked. Mickie’d. Surprised they didn’t have my underwear on display. Shame.”

What instigated the Twitter outburst of Assange-ish lingo and Runyonese? “Richard Prince: The Douglas Blair Turnbaugh Collection (1977–1988),” on view this past summer at the Los Angeles gallery Edward Cella Art & Architecture, an exhibition organized without the artist’s . . . license. With his tweets, Prince marshaled an already habituated if not

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