Dadaism sought to abolish art without realising it, and surrealism sought to realise art without abolishing it. The critical position since worked out by the Situationists demonstrates that the abolition and the realisation of art are inseparable aspects of a single transcendence of art.
We are not a set of private meanings that we can choose or not choose to make public to others. We are the sum of our visible gestures. We are as available to others as to ourselves. Our gestures are themselves formed by the public world, by its conventions, its language, the repertory of its emotions, from which we learn our own. It is no accident that the work of Morris and Serra was being made at the time when novelists in France were declaring, “I do not write. I am written.
— Rosalind Krauss, Passages in Modern Sculpture
Among the bourgeoisie, you’ll find more forgiveness for the murderer who takes a life from the human community than for the thief who […] simply changes the place and ownership of things.
— written in 1906 by Italian anarchist Luigi Fabbri
, still shockingly relevant to the murder of Michael Brown over 100 years later (via marxvx