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Which of course gives curators a massive amount of power over such practices, and, when understood from this perspective, makes the artists’ critiques rather glib and predicated upon the ideological assumptions of the broader visual arts field.

But seriously, if Damien Hirst can put a cubicle desk inside a vitrine and call it art, surely an un-licensed therapist whose defining approach violates pretty much .

But a further consequence of this relationship is the dependency of the work for even its most basic meaning on the discourse of the visual arts.

Contemporary performance, in contrast, as we’ve argued previously, is not predicated upon its framing so much as its experiential qualities: what is, and how can we talk about–if at all–the shared experience created between spectacle and spectator through live performance?

This is achieved through various skilled practices on the part of the artists, skilled practices many VAP practitioners reject as “inauthentic” even as they do not fully understand them.

From this perspective, then, there’s at least a reasonable critique one could make of work like White’s, or, say, Marni Kotak, who presented her own pregnancy and birth as a spectacle within an art gallery: Such work only has discursive value if it’s framed as art by being presented an art space.

Most of them remained committed to creating objects, of course, but whereas their predecessors, like Marcel Duchamp with his urinal, provoked outrage through their provocative acts, artists like Hirst, the other YBA’s, and others in Europe and America were savvy enough to attach themselves to broader socio-political trends (in Britain, Thatcherism) that promoted a gross sorts of class identity and differentiation.

They provided cultural products for new money, and part of their art’s critique was in opposition to the art that served as signifiers of the old money (I’m speaking of the YBA’s here) aristocratic class. Now, the provocation of VAP has given way to its embrace–witness Abramovic herself.

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The answer leads us to a much deeper discussion of the critical discourse which surrounds and contextualizes visual art.

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