• Tony Oursler

    Lisson Gallery | 27 Bell Street | London

    In a recent, relatively short review of Tony Oursler’s work the word “abject” cropped up three times, almost as though this were the only psychological state that works of art are currently permitted to address. “Abjection” has become a given in criticism, a knee-jerk response to the demands of fashionable theory. If a work of art can be seen to exemplify—or more often to illustrate—this condition, then it is almost guaranteed currency within certain circles that are rather less theoretically up-to-date than they like to think. Art and art criticism have been chasing the tail of theory for some

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