The art needed to be submerged in the acid bath of the hidden personality and then reconstituted, which is what William Gass does without parallel.
Long after the bulk of free-and-direct discourse retreated from the spooky public sphere into Mark'n'Jack's ClickLike Clubhouse
You can find yourself wondering, “Well, wouldn’t I get the same effect if I just read the block of text at the entrance to the exhibition room, or the catalog essay, or an interview with the artist—rather than looking at the pictures / installation / video art?” What is the surplus that the aesthetic “casing” of the statement / polemic / enquiry actually provides?
[Joker] violates the taboo which guards the moral incoherence of all American stories about supervillains: the correlate of the villain’s motiveless malignancy is the fundamental innocence of society, its right to continue as it is. Only an evil originating outside of that society can possibly explain the desire to harm it. But this fantasy of innocence is bound to collide with the gothic underpinnings of Batman’s moral universe: Gotham is a city of endemic corruption and decay, and its villains are endogenous, home-grown, expressions of a universal sickness.