Abstract
Several years ago, went to a John Heartfield exhibition with a non-art historian friend. He walked around for about fifteen minutes and then said I get this, it's like punk. This understanding of Dada as similar to a contemporary phenomenon made implicit sense to me; for Dada, as an art historical movement or entity, is often clearest in my mind in the guise of Neo-Dada. Even by the time of William Rubin's famous 1968 exhibition on Dada and Surrealism at the
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