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The question of modernism has traditionally been couched in formal terms addressing issues of flatness, of painterly technique, of reduction of interest in subject matter. Manet is usually considered the first modernist painter, and the origins of the movement placed in the 1860s. I should like to put these formal issues aside for the moment in order to propose another model, what might be called Institutional Modernism. By that I mean the political aspect, the structures by which art is presented to and perceived by its public.
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