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PRINT December 2019

Logical Revolts

View of “Planes of Color,” 2019, Museum of Modern Art, New York. From left: Mark Rothko, No. 5/No. 22, 1950; Louise Nevelson, Hanging Column (from Dawn’s Wedding Feast), 1959. Photo: Robert Gerhardt.

IN “GLOBALIZED” PARTS OF THE WORLD where neofascists have gained previously unimaginable levels of mainstream control, many people who hoped to discover effective modes of resistance are finding their cognitive abilities totally blasted out. Others have neoliberalized resistance, drawing fuel from a vision of protest and political struggle as fundraising, advertising, and career-building strategies. These social actors often unconsciously have more to gain from the continued presence of neofascists than from their removal—and only the willfully naive would deny that at least some of these individuals and groups are actually conscious of the fact that their own success is correlated with that of right-wing authoritarianism. For the more morose adherents of a left-inflected social consciousness who are involved in critical aesthetic practices, it has been difficult to find any

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