Ann Goldstein

More compelling, because more perverse, is the idea of tackling the problem with what appears to be the least suitable vehicle available, painting. It is perfect camouflage, and it must be remembered that Picasso considered cubism and camouflage to be one and the same, a device of misrepresentation, a deconstrucrive tool designed to undermine the certainty of appearances. The appropriation of painting as a subversive method allows one to place critical aesthetic activity at the center of the marketplace, where it can cause the most trouble.








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