School of Philosophy and Art History, University of Essex.
Abstract
This article re-examines Peter Bürger’s negative assessment of the neo-avant-garde as apolitical, co-opted and toothless. It argues that his conception can be overturned through an analysis of different sources – looking beyond the usual examples of individual artists to instead focus on the role of more politically committed collectives. It declares that, while the collectives analysed in this text do indeed appropriate and develop goals and tactics of the ‘historical avant-garde’ (hence meriting the appellation ‘neo-avant-garde’), they cannot be accused of being co-opted or politically uncommitted due to the ferocity of their critique of, and attack on, art and political institutions
