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I had my first taste of cooption late in the seventies, when I heard a critic call Chris Burden, the West Coast performance artist known for his acts of bravado and daring, a “political artist.” Now, Burden is a fine artist in many respects, but political he's not—at least in terms of the vocabulary that described the conscious intentionality of feminists, Marxists, and community artists who had come of age in that decade.
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