Abstract
La Peinture comme crime (19 October 2001-14 January 2002) was undoubtedly the most controversial exhibition in France for several years. Devised in a deliberately polemical form (agin all decorative thinking in the aesthetics, but also agin the formal or formalist interpretation of old, modern and contemporary art), it was also iconclastic, if we are to judge by the paintings and pictures (from the Happening–and in particular from Viennese Actionism–to William Blake) which it introduced into ...
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