Abstract
ABSTRACTIn museums, private collections, and public spaces, there is a myriad of artworks that remain anonymous. This article examines a specific subset of anonymous art, which seems to have a marginal role in collecting and in institutional practices: anonymous artworks from the modern and contemporary period that are neither museum artefacts nor public artworks. As it turns out, this kind of anonymous art is a puzzling category for the art institution and audience alike. Since the conception of the readymade and pop art, the most trivial objects can be reiterated in the artistic sphere, yet even so these anonymous artworks lack the underlying condition for their artistic recognition, which is centred upon the agency of the artist. In addition, the intricate and flexible sociality of artists, objects, and audiences within the institutional framework of art renders the case of anonymous art even more perplexing. Following an original exhibition of a collection of anonymous artworks, this essay investigates these perplexities. It argues that the aforementioned kind of anonymous artwork provides valuable insights into the limits of the contemporary art institution. Hence, within the complex layers of contemporary representations, it has the potential for empowering the aesthetic and cultural constellations of the individual spectator while offering new possibilities for collectors.
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