• “Antagonisms”


    Political art has received a bashing of late. Explicit forms of critique have been scarcely present in recent exhibitions; the Whitney Biennial of 1993 may have been the last major show in this country of demonstrably political art. Its do-gooder tone and simple conception of identity politics aside, the “multicultural” Biennial was far more memorable than the revanchist surveys that followed in its wake. Yet the charges of “political correctness” hurled at that show by critics of right-wing affiliation or archaic sensibility ultimately had an effect; so too did a certain boredom with critical

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