Today’s artworld, in which art and mainstream culture are in relentless gaudy interchange, isn’t so new. Thomas Crow, now in his late sixties, has lived amid such fluxions for decades, and traced them back further: his Modern Art and the Common Culture (1998), for example, is one broad tapestry of relativist crossovers spanning mid-nineteenth-century Paris to the time of its writing. The American art historian’s most recent book takes the antihierarchical movement par excellence and inflates it so that, rather…
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