Abstract
The essay takes up the question of “radicality” in art in the context of the events of the so-called German Autumn. The author tries to show that it is the “claim to leadership of art,” and the fear of becoming caught up in the trivial, that pushes artists to align themselves with radical politics. He demonstrates that at the same time the most radical gestures – radical because they are based on an explicit acknowledgment of one’s own position in the given historical situation – are more likely to go unnoticed.
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