TABLE OF CONTENTS

BLACK LIGHT

View of Hank Willis Thomas’s Freedom Now (blue and gold), 2018, screen print on retroreflective vinyl, mounted on Dibond, 24 × 30".

EXALTED AND EXCORIATED, praised as universalist and damned as Eurocentric, the Enlightenment has for decades now been central to scholarly debate and even, to a significant extent, to discussion beyond the academy. If these arguments originally pivoted on the contrast between the eighteenth-century Enlightenment and the nineteenth-century backlash or counter-Enlightenment, the opposition that has structured the conversation since the turn of the millennium has been between the Enlightenment and the post-Enlightenment (whether post-structuralist or postcolonial, or sometimes both).

Yet even as we speak (write), it could be contended that these debates are about to be blotted out, rendered irrelevant, by the oncoming darkness of an aggressively resurgent anti-Enlightenment, which bears some affinities to traditional conservatism and the nineteenth-century counter-Enlightenment but

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the Summer 2018 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.