![]() ![]() Against this grim appraisal, Foster insisted on the political importance of such postmodernists as Hans Haacke and Barbara Kruger, who enacted a form of subversion more subtle and effective than the “abstract and anarchistic” avant garde. In their place, a financialised society had filled the galleries with glorified consumer products: kitschy, toothless and historically amnesiac. Avant garde experiments that mounted a frontal attack on bourgeois culture, such as dada and surrealism, were passé. Amid the new regime of union-busting deregulation instituted by Thatcher and Reagan, the assumption in Foster’s Marxist academic milieu was that contemporary art had shed its radical convictions. D uring the mid-1980s, when Hal Foster established himself as one of the leading art critics in the anglophone world, many were flummoxed by his optimism. ![]()
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