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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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- Page 17 and 18: 4 no discrete separations or neat p
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- Page 21 and 22: 8 In the final chapter, the dissipa
- Page 23 and 24: 10 Robert Smithson, Partially Burie
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- Page 27 and 28: 14 itself, falls into the illusion
- Page 30 and 31: Daniel Buren, photo-souvenir: Withi
- Page 32: from the physical condition of the
- Page 36 and 37: Mierle Laderman Ukeles, Hartford Wa
- Page 38 and 39: Group Material, DaZiBaos, poster pr
- Page 40 and 41: Mark Dion, New York State Bureau of
- Page 42 and 43: tion), a neighborhood or seasonal e
- Page 44 and 45: cal determinants, which are not exa
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- Page 50 and 51: Richard Serra, Splash Piece: Castin
- Page 52: adamant their critique of dominant
- Page 55 and 56: 42 the point of (re)production. Tha
- Page 58 and 59: Faith Wilding, Womb Room (Crocheted
- Page 60 and 61: now by which the artist comes to ap
- Page 64 and 65: Thus, if Richard Serra could once d
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- Page 68 and 69: of various cities a matter of produ
- Page 70: composition in green, with yards of
- Page 73 and 74: 60 decades. Our story will concentr
- Page 75 and 76: 62 Isamu Noguchi, Red Cube, Marine
- Page 77 and 78: 64 examples of it in public places,
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- Page 81 and 82: 68 Nancy Holt, Dark Star Park, Ross
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- Page 93 and 94: 80 than promotes the fantasies of p
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- Page 100 and 101: John Ahearn and Rigoberto Torres, c
- Page 102 and 103: In many street casting sessions, he
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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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Gabriel Orozco, Isla dentro de la i
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7 The term is borrowed from Hal Fos
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10 Daniel Buren, “The Function of
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Kolbowski; and chapter 5, note 31 f
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mal art colleagues, he used fabrica
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18 See J. I. Gershuny and I. D. Mil
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Projects” share a similar investm
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through a small committee of art ex
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of the National Endowment for the A
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39 On this point, see Hal Foster,
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61 Ibid. 62 Others not necessarily
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tures were painted. Perhaps for thi
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5 The change in exhibition title si
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Issues Are Focus of New Public Art
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28 See Jeff Kelley, “Common Work,
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Sculpture Chicago staff. One part o
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various color choices available for
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party are described as “the first
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lows: “Often artist and community
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30 Kester, “Aesthetic Evangelists
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constitution of the public sphere a
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Press, 1997), 7. Much of Lippard’
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INDEX Page numbers in italics indic
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Democracy, 80, 107, 116 Democratiza
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Lindell, John, 28 Linker, Kate, 66-
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Shamash, Diane, 103 Site discursive