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Introducción: moderno,
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Capítulo 2

Tres décadas después del fin del arte

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 "$4 ,G' , 4 ,$4 3G4 ,$ H F ,$ " $ 61

tivismo lógico, como lo era «pseudorelación», que aparece en «The Elimination

F5 4
of Metaphysics through Logical Analysis of Language» de Rudolph Carnap, en
4 ) // < K A. J. Ayer, % & / "( < m., H < / /< # 6
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Capítulo 3

Relatos legitimadores
y principios críticos

& % = %
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"$ 54 $( 7 ,5"$4 V " F' 54 '" '54 #

& )D D . ) 9 )$ . < 6
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 "$ 54 $( 7 ,5"$4 V " F' 54 '" ' 4 #

% ? )D % < X D 6 < = & ) = 3 & = 4 =

) )D % = ) = %
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E & X
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C = % C = F & =
 ,$4 3$4 ,$ H F ,$ " $ "$ 54 $( 7 ,5"$4 V " F' 54 '" ' 4 #/

$ < < < % ) = 6

= K C C & X < ?
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& 6 % . & % C= =
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% 7 E = X .? = & 6 < . <
< & 6 ) & < < = %
% ) $ % < ' . C
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B < ) F & 6 = . ) =
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B . & <6= < < N O!
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. = ) < & ). & < = E ) X
) % X % < < < =
< < ' ) $ ) = &
% X < . B % C 6 <6
C V = & ) & ?
 "$ 54 $( 7 ,5"$4 V " F' 54 '" ' 4

= . y & ) < = = &

% = ? 6 = $ . )
< < 6 ?? V
& '& < . ) <
% = < % ) D < C C
% = 6 % " < = ) % C
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8 < & < % < . < & D = & 6
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< N P
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% & $ % C % & O := % N =
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 ,$4 3G4 ,$ H F ,$ " $ "$ 54 $( 7 ,5"$4 V " F' 54 '" '54

( ) & ) & & < % ' = & 6

) 6 4 U % = = % .<
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6 D < <6 ) D 6 < < B <
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% = % = =
% . % & & %
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% < O/G ) 6 D & % C B < D C ) D
& = D C $ % ) H = &C = D
N O< - = = " <
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 "$ 54 $( 7 ,5"$4 6 " F' 54 '". '54

& & % %
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FK 4 ( . &
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 "$ 54 $( 7 ,5"$4 6 " F' 54 '" ' 4 77

< X % X / N3 % B < % @ @ ) <

% < & D 6 C % ) < 6 & X )
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K B . ( <6 = . ) = $
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D C <6 D C6 )
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% = & 6 = N ) 6 % <
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. Ahora llegamos a la más asombrosa galería en este Salón tan rico en sor-
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 I
78 ,$4 3G4 ,$ H F ,$ " $ "$ 54 $( 7 ,5"$4 V " F' 54 '" ' 4 /

% % ) < = = = .? = ) . = <
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F5 4

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( " F % V 9< ) < //!< ! 9 ) "/ /!/ © F'
 Capítulo 4

El modernismo la crítica
del arte puro: la visión
histórica de Clement
Greenberg

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 Capítulo 6

La pintura el linde de la historia: el

final de lo puro

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Capítulo 7

Arte pop futuro pasado

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 Capítulo

Modalidades de la historia:
posibilidad y comedia

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