- Page 2: Art Power
- Page 5 and 6: © 2008 Boris Groys All rights rese
- Page 8 and 9: Introduction The first thing one le
- Page 10 and 11: Introduction zero as its sum, could
- Page 12 and 13: Introduction propaganda. The amount
- Page 14 and 15: Introduction that all avant-garde a
- Page 16: Introduction international biennial
- Page 21 and 22: Equal Aesthetic Rights the regime o
- Page 23 and 24: Equal Aesthetic Rights Accordingly,
- Page 25 and 26: Equal Aesthetic Rights of war, terr
- Page 27 and 28: Equal Aesthetic Rights address and
- Page 29 and 30: Equal Aesthetic Rights and new. The
- Page 31 and 32: On the New following question: When
- Page 33 and 34: On the New more you become subjecte
- Page 35 and 36: On the New told Socrates only what
- Page 37 and 38: On the New readymade a kind of Chri
- Page 39 and 40: On the New reproductive practice an
- Page 41 and 42: On the New literally and metaphoric
- Page 43 and 44: On the New But, as I said, Kierkega
- Page 45 and 46: On the New to the hidden inner core
- Page 47 and 48: On the New Fischli and Weiss, we ar
- Page 49 and 50: On the New missed opportunity to co
- Page 51 and 52: On the Curatorship secularized thin
- Page 53 and 54: On the Curatorship renowned white c
- Page 55 and 56: On the Curatorship You do understan
- Page 57 and 58: On the Curatorship art” next to e
- Page 59 and 60: On the Curatorship incomplete and f
- Page 61 and 62: Art in the Age of Biopolitics Meanw
- Page 63 and 64: Art in the Age of Biopolitics regul
- Page 65 and 66: Art in the Age of Biopolitics Homo
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Art in the Age of Biopolitics monoc
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Art in the Age of Biopolitics more
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Art in the Age of Biopolitics can a
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Iconoclasm as an Artistic Device: I
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Iconoclasm as an Artistic Device bu
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Iconoclasm as an Artistic Device Ye
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Iconoclasm as an Artistic Device ce
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Iconoclasm as an Artistic Device co
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Iconoclasm as an Artistic Device he
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Iconoclasm as an Artistic Device ca
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Iconoclasm as an Artistic Device Ac
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Art in the Age of Digitalization an
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Art in the Age of Digitalization wi
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Art in the Age of Digitalization we
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Art in the Age of Digitalization Th
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Multiple Authorship Maybe there is
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Multiple Authorship because it is s
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Multiple Authorship the choice of t
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Multiple Authorship to express his
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The City in the Age of Touristic Re
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The Age of Touristic Reproduction c
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The Age of Touristic Reproduction t
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The Age of Touristic Reproduction t
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The Age of Touristic Reproduction i
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Critical Reflections For some time
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Critical Reflections deep rift with
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Critical Reflections So, many years
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Critical Reflections artistic revol
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Part II
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Art at War war, terror, and catastr
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Art at War Thus art and politics ar
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Art at War critique of representati
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Art at War theoretical. But it can
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The Hero’s Body: Adolf Hitler’s
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Hitler’s Art Theory various eleme
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Hitler’s Art Theory an approving
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Hitler’s Art Theory appreciated a
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Hitler’s Art Theory today also as
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Educating the Masses: Socialist Rea
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Educating the Masses thousands of g
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Educating the Masses present world
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Educating the Masses art, whereas t
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Beyond Diversity: Cultural Studies
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Beyond Diversity that this is, in f
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Beyond Diversity And that is why th
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Beyond Diversity It is the radical,
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Beyond Diversity Communist subject
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Beyond Diversity only in the West.
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Beyond Diversity Following the diss
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Beyond Diversity reacted allergical
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Privatizations as rights were conce
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Privatizations various historical s
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Privatizations amounts to an extens
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Privatizations Latvians, etc.), but
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Europe and Its Others like to defin
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Europe and Its Others human being c
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Europe and Its Others something as
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Europe and Its Others participated
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Europe and Its Others do not suffic
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Notes to pages 58-63 3. Orhan Pamuk
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Notes to pages 133-147 Politics of
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Sources “The Logic of Equal Aesth