Remember Neo-Geo? Haim Steinbach’s shelf units, Jeff Koons’ basketballs, Ashley Bickerton’s tech fetishes? Remember Hal Foster and how the “Damaged Goods” show claimed to confuse and challenge the boundaries separating high art from mass production, museum installation from commodity display? Now, a decade later, Neo-Geo’s retrenchment to high art systems and values is taken as […]
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