![]() ![]() ![]() Then and now, many threads in the book seemed especially in relief while in collective reclusion. This interview was conducted during the last weeks of spring 2020, when the Covid-19 pandemic was slightly more novel. With each section, though, he concludes by returning to utopian premises embedded in fiction. ![]() Hal Foster’s new book What Comes After Farce surveys decades of art history and theory in three thematic sections: “Terror and Transgression,” “Plutocracy and Display,” and “Media and Fiction.” In one essay, “Exhibitionists,” Foster cites Robert Smithson’s remark, key for the historicization of the first wave of institutional critique, that the task of artists is to demonstrate the apparatuses they are “threaded through.” Today, acknowledging the widespread lack of cultural funding and the precariousness of cultural producers generally speaking, not to mention the already long-ago understanding of radical art’s recuperability, Foster proceeds to speculate on the (im)possibilities of critique, when, as he allows, many artists and exhibition makers are happy to be threaded. ![]()
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