We also have seen a proliferation of theories and practices that aim to account for these contradictions, or to confront them from within, or to escape them by proposing or creating alternatives. I myself have long argued that the critical and political potential of art lies in its very embeddedness in a deeply conﬂictual social ﬁeld, which can only be confronted effectively in situ. From this perspective it would seem that the apparent contradictions between the critical and political claims of art and its economic conditions are not contradictions at all but rather attest to the vitality of the art world as a site of critique and contestation, as these practices develop in scope and complexity to confront the challenges of globalization, neoliberalism, post-Fordism, new regimes of spectacle, the debt crisis, right-wing populism, and now historic levels of inequality. And if some or even most of these practices prove ineffectual, or readily absorbed, with their truly radical elements marginalized or quickly outmoded, new theories and strategies immediately emerge in their place—in an ongoing process that now seems to serve as one of the art world’s primary motors of content production.
With each passing year, however, rather than diminishing the art world’s contradictions, these theories and practices only seem to expand along with them.
Andrea Fraser, “There’s No Place Like Home” from Texts, Scripts, and Transcripts, here