" In breaking with history, art has broken with all primitivism. Art may still seek plenitude and participation, therapies and ceremonies, a repeal of the dissociation of sensibility, but not routed through the past. Today the challenge to an obtuse and callous classicism is no longer mapped onto a rejection of tradition, nor does it ironically re-embrace traditions previously rejected. Now classicism, or intellectual vassalage, is internal to the present. The ancien régime targeted by modernism is no longer found in the past but rather embedded within our own society: mass culture, entertainment, the superstitions and stupidities, the half-hearted democracy, the disguised cruelty of the modern economy. It is just as in the era of religious conflict: content provides the resistance. Art is a struggle against false content.
This struggle gives history its shape. Since the content of contemporary art is often topical, basically current events, there is a constant obligation to keep up the pace. This is consistent with the overall project of Enlightenment, whose successor is modernism. Within the project of emancipation, there is finally no tolerance for relativism. The Enlightenment was antirelativist; we saw that with Diderot, who did not allow historical perspective to deflect his present-tense opinions. Historicist relativism was allied instead with the neo-Christian reaction to Enlightenment. The Enlightenment critiques itself, of course, pointing out that the Enlightenment of the philosophes, or last year's enlightenment, was not enlightened enough. Ongoing self-castigation is the very shape of the Enlightenment project. However, anyone today who dares to revive the Romantic critique of the Enlightenment, namely, to take up again the illiberal call for remystification and recovery of trust in myth an ritual - anyone who dares to exit the Enlightenment - is vilified. "
― , A History of Art History