Contemporary art no longer possesses a liberating quality, but, rather, speaks self-reflexively of affiliations and interests particular to the artistic community. If the polemic generated by Fareed Armaly’s exhibition “CONTACT,” 1992, is any indication, for an artist to question this kind of artistic production without conforming to it (like Hans Haacke and Philippe Thomas)for him to construct a far-reaching meditation on the modes of cultural production—is clearly unacceptable. Armaly refuses to play the ritual games of the art world. This refusal is first signaled by the heading “No-opening”