100 ART IN AMERICA JUNE/JULY’12
mobility and punctuated visibility. Although a recent, prominent prec-edent was the Zapatistas in Mexico,impoverished Indian peasants mobi-lized under the poetically playfulSubcomandante Marcos, I seethe occupation movement as thearrival of the conflict between the“creatives” and the city that uses us.
Filmmaker and writer
Usually when I tell people I’ve beeninvolved in Occupy Wall Street,they ask me if I’m making a docu-mentary film, and they’re usually alittle surprised when I say no. I lovedocumentaries and sincerely hopesomeone is making one about themovement, because I think there’san astonishing story to be told. ButI didn’t want to be the one to tellit. When I went to Wall Street onSeptember 17th, I didn’t want tostand at a remove, behind a cameraor conducting an interview. I wantedto be in it, to join the conversation. Ithe increased institutional accep-tance, in the U.S. and Europe, of art centered on social realities,and even directly inserted intosocial processes—an approachthat had been anathematizedfrom the Cold War onward.Occupy’s first step has beena dogged, dug-in spatiotempo-ral visibility, an occupation! Inits second phase, tactics haveshifted to something of a greater Artists too! Artists have prob-ably always been inclined to join theruckus and stand up for global jus-tice, but in an international economyincreasingly based on cognitive laborand on the broad culturalization of social and political life, artists aredeeply involved in Occupy, here in theStates and elsewhere. That very cul-turalization of what we might call thepublic sphere has its pluses and itsminuses, but it certainly accounts for
An Idea Cannot Be Destroyed
,designed by Nina Montenegro,Portland, Ore.Right,
Venn Diagrams Don’t Lie
,designed by Pat F., Washington, D.C.Left,
, designed by lmnop,Brooklyn, N.Y.
exchanges flow b.indd 1005/11/12 11:40 AM