Let me be clear, the problems I raise do not stem from a dissatisfaction with the way October authors repeat a kind of party line. In fact, I envy the unity and consistency of the resolve and of course their massive impact on the discipline (what is there, politically speaking, besides anti-hierarchy in the humanities?). My point is that the basic set of claims shared by many of these authors is mistaken.
So we have two modes of politics. One that depends on your subject position and one that doesn’t. And we have two kinds of art: one that depends on your subject position and one that doesn’t. And they align themselves, one with the other, according to what they assume about representation and about truth. Which kind of art is Miró’s? Or is it another kind altogether? And what kind of politics does it embody?
What I’ve been calling the work’s performance is nothing other than the causal account of its production, the kind of account you can give for any work of art. The difference is just that Chang has folded the process through which the work was produced into the experience of seeing it. This is a difference that matters.