In the 1990s, as artists searched for new alternatives, many considered conceptual art of the 1970s an unfinished project.
This work is an example of provocation with a purpose.
Haacke documents the provenance of a Seurat sketch held in a bank vault to lay bare the commodification of art.
This loosely formed group of artists enlivened London’s contemporary art scene in the 1990s.
Though this looks like an exhibit in a natural history museum, Hirst’s subject comes straight from art history.
Why did the mayor of New York City threaten to close the museum exhibiting Ofili’s painting of the Virgin Mary?
Koons’ cartoonish life-size emblems of childhood innocence are an assault upon both sincerity and taste.