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MIWON KWON ONE PLACE AFTER ANOTHER
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MIWON KWON ONE PLACE AFTER ANOTHER
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For Umma and Appa
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ACKNOWLEDGMENTS The first incarnati
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ONE PLACE AFTER ANOTHER
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2 become insignificant or innocuous
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4 no discrete separations or neat p
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6 for the consideration of another
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8 In the final chapter, the dissipa
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10 Robert Smithson, Partially Burie
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12 establishing an inextricable, in
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14 itself, falls into the illusion
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Daniel Buren, photo-souvenir: Withi
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from the physical condition of the
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Mierle Laderman Ukeles, Hartford Wa
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Group Material, DaZiBaos, poster pr
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Mark Dion, New York State Bureau of
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tion), a neighborhood or seasonal e
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cal determinants, which are not exa
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� UNHINGING OF SITE SPECIFICITY M
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Richard Serra, Splash Piece: Castin
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adamant their critique of dominant
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42 the point of (re)production. Tha
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Faith Wilding, Womb Room (Crocheted
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now by which the artist comes to ap
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49 UNHINGING OF SITE SPECIFICITY
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Thus, if Richard Serra could once d
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establishment, the exhibition wante
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of various cities a matter of produ
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composition in green, with yards of
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60 decades. Our story will concentr
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62 Isamu Noguchi, Red Cube, Marine
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64 examples of it in public places,
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66 come. 18 Thus, despite the numer
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68 Nancy Holt, Dark Star Park, Ross
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70 < Lobby of the Wiesner Arts and
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specificity, quite explicitly oppos
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such cases it is necessary to work
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78 artistic practice). In fact, the
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80 than promotes the fantasies of p
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82 logue between the artist and his
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84 of the community within which th
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John Ahearn and Rigoberto Torres, c
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In many street casting sessions, he
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Department of General Services who
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homes—the execution may be shoddy
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could not be imagined belonging any
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though the issue cannot be pursued
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larly illuminates the conflicted na
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Suzanne Lacy and A Coalition of Chi
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Sculpture Chicago were shocked to b
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Dealing with some of the most profo
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galleries. They choose instead the
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ound to a geographical region. 33 I
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tend to speak in terms of community
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munity” is repeatedly conjured in
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give voice to underrepresented and
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munity in an exhibition program, as
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seemed to connect them was service
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such specific community groups. 56
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certain community group by the spon
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a local facilitator (Carol Becker o
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Mark Dion and the Chicago Urban Eco
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Daniel J. Martinez, VinZula Kara, a
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Haha and Flood: A Volunteer Network
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Iñigo Manglano-Ovalle and Street-L
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video production studio. With the n
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fact, the uncertainty of identity e
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contemporary lust for authentic his
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quickly that her interest in pursui
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character flaw (lack of initiative,
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nity groups. It is perhaps not surp
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the neighborhood, from the city: th
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presumption of community-based art
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in a particular social issue, such
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zations are pressured today to thin
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This is not necessarily to assert i
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“wrong” place. We are out of pl
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some sociologists prefer). 10 These
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The play begins with Majeski recent
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systems. The enormous sense of powe
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eactive, cultivating what is presum
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- Page 182 and 183: 7 The term is borrowed from Hal Fos
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- Page 188 and 189: mal art colleagues, he used fabrica
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- Page 198 and 199: 39 On this point, see Hal Foster,
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- Page 208 and 209: 28 See Jeff Kelley, “Common Work,
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- Page 224 and 225: INDEX Page numbers in italics indic
- Page 226 and 227: Democracy, 80, 107, 116 Democratiza
- Page 228 and 229: Lindell, John, 28 Linker, Kate, 66-