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Artists’ Collectives Mostly in New York 221
49. See Alan Moore and James Cornwell, “Local History: The Battle for Bohemia
in the East Village,” in Alternative Art, New York, 1965–1985, ed. Ault. Reminiscences
and analyses of this period are collected in Clayton Patterson et al., eds.,
Resistance: A Radical Political History of the Lower East Side (New York: Seven Stories
Press, 2007). Although it is ostensibly Wction, the graphic novel by Seth Tobocman,
War in the Neighborhood (New York: Autonomedia, 2002), includes real personalities
and incidents in this struggle.
50. See Rachel Greene, Internet Art (London: Thames & Hudson, 2004).
51. Richard Barbrook, “The Hi-Tech Gift Economy,” First Monday, March 2002,
http://www.Wrstmonday.dk/issues/issue3_12/barbrook/.
52. This description of the conXict of interests between creativity and power was
made by Christopher May, a theorist of intellectual property, at an October 2003
seminar at New York University.
53. In 1988, the British writer Stewart Home organized a “Plagiarism” convention
in London where these issues were addressed; see S. Home, The Festival of Plagiarism
(London: Sabotage, 1989).
54. Stewart Home, Neoist Manifestos (Stirling: AK Press, 1991). One of these
Monty Cantsins (Istvan Kantor) threw blood on the wall in the shape of an X at
the New York Museum of Modern Art in 1988. This Monty also participated in the
New York City Rivington School, a rowdy group of sculptors on New York’s Lower
East Side in the 1980s.
55. Andrea Fraser, “Services: A Working-Group Exhibition,” in Games, Fights,
Collaboration: Das Spiel von Grenze und Überschreitung, ed. Beatrice von Bismarck,
Diethelm Stoller, and Ulf Wuggenig (Stuttgart: Cantz, 1996).
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