1995Installation at the Whitney Biennial, New York, March 23-June 4,1995
2 Miwon Kwon, 'One PlaceAfter Another: Notes on SiteSpecificity',
80,Spring 1997, p 94.3 Consider Hans Haacke's useof the Guggenheim Museumas a specific-site for his 'real-time' New York City realestate map
In Haacke's work,described in more detailbelow, the intervention wasnot 'indexical' to thearchitectural space of theMuseum but wasnevertheless specificallysituated with regard to theMuseum's audience ofeducated, liberal artspectators; an 'institutionalframe' if there ever was one.Nevertheless within Kwon'srevised history of site-specific art, Haacke'sseminal project falls throughher conceptual grid out ofsight. See Miwon Kwon,ibid, pp 85-110.
information technologies. After weapons manufacturing, the global image ofthe United States is most clearly defined by entertainment products andservices. And yet with 'political art' now more than a few seasons out offashion and the Left unable to offer even a blurred vision of collective politicalresistance, the dissipation of the fine art tradition must be seen as a vacuousachievement, even a counter-productive one. Granted that from a certainperspective Degas neck-ties and Cézanne-covered baseballs are fitting ends tothe pretensions of bourgeois high culture. Still, one cannot so easily dismiss theoften expressed desire to link avant-garde art practices with progressivemovements, an objective that belongs as much to the history of modern art asit does to the Left.Yet even the legacy of activist art, when not dismissed altogether, is beingre-written, its historical contribution reduced to that of a genteel 'institutionalcritique' of the art industry. This process of revision can be seen at work in arecent essay by architectural critic Miwon Kwon in the journal
Kwonhas virtually reconstructed the history of site-specific art so as to avoid thefundamental impact of activist politics on this important post-1960s practice.Kwon tells the story this way: beginning in the early 1970s certain conceptualartists (Daniel Buren, Hans Haacke) expanded upon one notion of site as aliteral but idealised space (that of Donald Judd, Carl Andre) by re-defining siteto include the context of the art institution
Kwon describes a second,more recent wave of expansion that further pushed this concept of site toinclude such non-art discourses as history, sociology, cultural studies, and
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