" Art's relation to form, to the image, to the monistic fantasy that provoked its defense of its own dividedness is today, as Klein predicted, intermittent and embarrassed. There are modes of art now that resemble activism or protest, pure and simple; modes of art characterized by a refusal to structure themselves around subject-object relations. The visual itself, the image, is questioned as the normative framework of art. Art is often not a product, not a precious trace, not a singularity, but rahter a dynamic, multipular interaction that creates temporary publics who are public to one another. Art does not have to add anything to the world. for technology and entrepreneurship already do that. Art is an irreality opened up inside the world. Art is the refusal of complicity in any form of domination. You are not trapped by the collectivity, but you are not entirely free either, for freedom, even the anarchic mode of the artwork, is suspected to be a mode of evasion of responsibility. Art is a quasi-event: it is not there all the time (like a book), but it is also not there only at an assigned time (like a theatrical play). This has become a comparative advantage of art over the other arts, which have more trouble intervening in reality. Much art today is coordinated with long-term eschatological or emancipatory projects, with projects as such. Art aims at such positive goals as synchrony, participation, inclusion, and sympathy, concepts hard to reconcile with the once-prized, exclusive qualities of art. "

― , A History of Art History