80s Post-Modernism -
"Recovered from ’70s malaise and ascendant (the period’s paranoia about Japan notwithstanding), the United States was a global colossus, identified with technology but also with artifice and image making—Hollywood, the entertainment industry. The sitting president, as loathed in art and the academy as he was beloved generally, was viewed as a figment and symbol of the new regime of images we had entered."
"...loss of autonomy for art from “the world”; or the perception that culture had been debased to the degree that one could no longer tell the authentic from the ersatz, the image from the referent;"

play of iconography

Post 9-11 -
no longer locus of a dream but "pedestrian crumbling nation-state"
"Contemporary art as we know it is an artifact of global economic stratification, so it is unsurprising that its foci are highly internationalized and that the now-provincial issues like those related to Americanness are passé, or in some sense déclassé."

-"iterability has become so pervasive that a loss of essence and a dependence on context are no longer scary radical fringe"

"the human that lacked core or essence and that was constituted only conditionally, contextually, in fragments...better to speak of blueprints under infinite revision and reproduction, rather than a single blueprint mimetically executed, for this host of new selves."

Halley's Sin -
this movement is disguised stasis yielding simulacrum of identity, as there is nothing behind the curtain besides "numerical imperatives, formal manipulation, and financial control"
"the way in which a conceptual approach was taken up in the 1980s fosters...the iterative dissemination of ideas that come preloaded"
the belletristic

nihilistic dead-end of programmatic deconstruction, lasting only for its shift in frame of intellectual reference and sustained by an embrace of free-market economics

reproduce the logic of the system until it destroys itself in a glorious detonation of feedback; accelerationism, in one guise

Foster's Solution-

an art movement does not merely comprehend the “original” but rather constitutes or creates its meaning: as with trauma, “One event is only registered through another that recodes it.”

SO to even understand really what the 80s and 90s were about, we have to repeat and decode or re-code it.

The Invisible Giant Notes