The conjunction of a renewed awareness of the threat posed by nuclear weapons and the coming of age of a rather dated sci-fi novel makes 1984 likely to be a year in which a lot of vague art will be presented in a lot of vague exhibitions. All this activity will be presented as somehow terribly meaningful to our present situation, and it will all attempt to live with that situation by diminishing the seriousness of the several very real threats that face us by reducing these threats to the elements of a camp joke. Armageddon is the hot topic among curators and artists anxious to prove that they can be as up-to-date as all the famous news analysts on TV. This might not be so terrible if some real thinking occurred, even by default. But big themes seem to freeze into little ideas in the minds of those who orchestrate mass entertainment. As a result, “The End of the World” was an exact equivalent
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