It can be difficult in our age of post-everything to comprehend the political import and impact of art and architecture in the 20th century, when stakes—see: two world wars, and the modernist and/or progressive ardor that arose around them—were high. It is far easier in our climate, in which art and politics often feel like estranged commuters, to understand such work as part of a formalist or art-historical continuum. An exception might be the experimental,...
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