Artists today are smugglers. Recycling both real and fictional
images, their proposals are no longer artworks or even art objects,
but rather situations to be lived, put to the test and experimented
with collectively. Analyzing contemporary art works as authorless
'hyper-artworks', post-colonial critic and theorist Ackbar Abbas
argues that narration emerges as a potent aesthetic force and that
all forms of documentation are themselves interpretations open to
new and multiple readings.
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