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Paul Chan, Map of the Future 4 of 4, 2001, silk screen on paper, 30 × 44".

Cultural Revolution: Aesthetic Practice After Autonomy, by Sven Lütticken. Berlin: Sternberg Press, 2017. 184 pages.

ONE OF THE DRIVING FORCES of the historical avant-gardes—Futurism, Dada, Surrealism, Constructivism—was the determination to fuse art with life. Embracing the new technologies of media and mobility, artists from Marinetti to Hans Richter, André Breton to Vladimir Mayakovsky, famously wanted to abolish the distance between “art” and “life” by a variety of means: a form of direct activism that involved group movements and manifestos; happenings; the invitation of chance; and the embrace of coincidence. Equally important were verbal and even physical attacks on the institution of art itself. “We will destroy the museums, libraries, academies of every kind. . . . Set fire to the library shelves! Divert the canals to flood the museums! . . . Oh, the joy of seeing

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