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The political meaning of a work of art today is largely determined by its relation to the products and values of the global audio-visual entertainment industries. A general blindness to this current condition of art on the part of many artists who define their art as ‘political’ has been remarked by Jacques Rancière in the conclusion of his review of the 2004 São Paulo Biennial: ‘The problem is that this irreproachable effort by many artists to break the dominant consensus and to put the existing order into question tends to inscribe itself within the framework of consensual descriptions and categories.


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