ous art magazines but of mass-press journalism-was something that shocked us. I'm sure this was experienced by each of us differently, since we all encountered 1960s art and the discourse it generated, and the profound change it effected in artistic practice, at different moments. But we could start by speculating on why we think there is a particular resistance to 1960s art at this moment. What is there in the political or aesthetic situation of the 1990s that makes the issues at stake in Morris's work invisible?
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