Abstract
The book concludes with a brief overview of the breakdown of modernism in 1970s and the wider implications for the reception of modern art in Ireland. Focusing on the 1972 Irish Exhibition of Living Art it considers how a younger generation of artists turned increasingly to time-based and conceptual art practices. This differentiated their work from that of earlier forms of art making in Ireland that now seemed overly passive or compliant with the demands of the state. Even conceptual art continued, however, to be presented in terms of Irishness. Rather than challenging conventional notions of Irish identity, the visits of the major international conceptual artist, Joseph Beuys, to Ireland in the same decade arguably reinforced them.
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