Abstract
In 1992, Bernard Ceysson explained that at the beginning of the 1970s, as the young curator of the Saint-Etienne Museum of Art and Industry, he took an interest in the Supports-Surfaces movement, because “it was connected with American art, therefore consigning the School of Paris to oblivion.” Following the famous 1964 Venice Biennial, which would officially consecrate New York as the new artistic capital of the Western world, thereby dethroning Paris, the prescribing power of the United Sta...
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