Abstract
In challenging the notion of formalist aesthetic taste during the late sixties, a scattered group of artists, centered primarily in New York City, began to reveal the wider implications of art which had been largely ignored by galleries and museums. Their efforts suggested that objects made and distributed within a somewhat limited art context become part of a much larger social context; that, although art reflects the concerns of a society at a particular time and through a particular artist's interpretation, its attachment to that society is eminently clear. Whether art works exists in the form of objects, installations, propositions, or events, they have the power to effect and to be effected by the social structure which attributes meaning to them.
Rights
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