Finding the hidden narrative in an early Conceptual art compendium
In the art world, 2007 was dubbed the year of feminism, with two major exhibitions (“WACK! Art and the Feminist Revolution” and “Global Feminisms”) and a conference (“The Feminist Future”) devoted to the topic. One might imagine critics’ fatigue at this designation. Indeed, some feminists, myself included, though delighted with the riches at hand, also had real criticisms of aspects of said ventures and, moreover, worried that a “year of feminism” would supersede the imperative for a more lasting and perpetual engagement. Yet, thankfully, the momentum has persisted.
As a feminist critic and historian, I’ve watched with interest over the past half decade as the terms for feminist endeavors have become more nuanced and debated and, following from this, as rigorous reassessments of the histories and potentialities
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