A couple basic premises for large-scale international art exhibitions over the past few years: Theory is over—and it wasn’t that great for art, anyway—but the market is pretty gross, too; and since September 11, everything seems so serious. Notwithstanding the portentous superficiality of this curatorial temperature taking, it’s a reasonably accurate assessment of the current state of affairs. Nevertheless, after this diagnosis, what’s a curator to do? In the 2004 Carnegie International, Laura Hoptman’s self-consciously ambitious answer moves beyond art-world discourse to themes