It used to be the case, as I remember it, an ambitious artist, seeking recognition, would attempt to stretch the envelope. As an artist in the 60’s and 70’s there was great impetus to go beyond what had been done in the arts, to expand the notion of what art is. Not simply to seek ‘the new’ in itself but to find ways to make meaning unavailable to traditional means of artmaking.

Mid-20th century, recognition in an increasingly competitive art world depended on reaching beyond, developing new techniques, challenge tradition aesthetic values. Success in such endeavor would depend on receiving hostile reviews and negative responses from the art establishment. Whether such art offered meaningful content or was simply exploitive, recognition was the key to success, which was likely to be short-lived, undermined by the eventual critical recognition and acceptance, the critics themselves seeking acknowledgement of their depths of understanding.

It being understood, then, that nothing is truly new even as convoluted explanation fought the inevitable decline of the Avant-Guarde.