In an artworld so clearly molded and regulated to serve the needs of the dominant and most privileged sectors of our society and their ways of doing business-the same sectors which benefit from the perpetuation of major conflicts of national, class, race and gender interests-what are the possibilities for oppositional, critical practices to assert themselves and be received?
In an artworld so clearly molded and regulated to serve the needs of the dominant and most privileged sectors of our society and their ways of doing business-the same sectors which benefit from the perpetuation of major conflicts of national, class, race and gender interests-what are the possibilities for oppositional, critical practices to assert themselves and be received?