Jafa’s omnipotent sun of tradition is there to remind us that what is considered freedom now is merely the allowance we are given to be a controlled emanation of society as it exists.

Is Glenn Ligon a critic of identity politics, or a mouthpiece? Or is it that he is both, and ultimately neither?

Anne Carson conquers Euripides’ radical attempt to destroy and redeem his culture and history, but for modern times and modern men — modern men who suffer from an overfullness of experience that impoverishes them.

Contemporary commonsense says that the preservation of art — as art — is not a life and death situation, but consider the case of Andrew Cunanan.

Eisenman’s contribution asserts that for aesthetic experience, liking and knowing are often indistinguishable, even though the museum, as a bourgeois pedagogical invention, upholds an aura of implicit hierarchy between the two.

Like those born at the turn of this century, untitled-game is overwrought with anxiety about its own emptiness. This reflects the fear of one’s own emptiness. Are we up to the tasks of our own century?

Two girls set out to live life. They adapt themselves to different roles within girlhood, but never attain to a fullness of any role.

The culture industry is running on a marathon of apologies. Miss Americana, the Taylor Swift biopic on Netflix, is a prime example of pop-culture apologia bound up in a coming-of-age tale.

Utility fosters distrust in those who wish to use the aesthetic for their own purposes. 

The spasmodic beauty of abstraction reflects the social reality of capitalist production — a kind of rationality that is not yet rational enough.

While many artists today position themselves as critical outsiders vis à vis capitalism, Hirst embraces the fact that he — and everyone else — lives smack dab in the middle of it. Far from being capitalism’s uncritical playboy, Hirst delivers an immanent critique.

The careless irony gives away the suffering narration involves in a world where it is no longer possible to tell stories.

Adnan has begun to worry the surface; she abolishes the impenetrability of her color. She is dealing with fresh problems that she has created for herself. This is one definition of freedom.

The return of “art” to film even if such gestures are mere semblance, may indicate, however obliquely, a renewed desire to reconsider the medium.

Thus the Garden fades in darkness in the memory of mankind and yet lies behind every subsequent action as the enigmatic source of its power.

The question is whether these works are self-critical in their own rebellion against established forms and their limitations, or whether they dogmatically adhered to Schoenbeg’s categories in their quest for the obliteration of the subject in service of musical free will.

The fact is that the revolutionary impulse in art does not hew so cleanly to revolutionary politics.

And yet, the content and meaning of Angst II is excruciatingly difficult to define. The impulse to try to make the irrational moments — or the whole — meaningful is constantly frustrated.

“The Waiting Room” is remarkable for its lack of concern with its institutional home and its disregard for questions of aesthetics.

A critic might try to pluck TEEN from the growing heap of dance-pop bands and salvage their music by dissecting it scientifically.