Abstract
The convergence of the commodification of art and the discursive authority of the art museum seem to have left little space for politically motivated practices in both art and criticism. This review essay considers two books that offer potential alternatives. One proposes a theoretical framework for the analysis of historical situations in which art and revolution overlapped one another; the other brings together texts by practicing artists, critics, and art historians to explore the space between art-making and art-writing.
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