ELLIPSIS

“Artists, art worlds, and artworks are three very distinct ontological categories, but a brief glance over the discourse of black art criticism at various moments in the 20th century – from the Harlem Renaissance of the 1920s, the Negritude movement of the 1940s, to the US Black Arts Movement of the 1960s – shows a consistent emphasis on the first and the second elements that tend to undermine the quality of attention given to the third”
p. 138

“The rehabilitation of Duchamp by the American neo-avant-garde was as crucial as the late 1960s re-assesment of Russian constructivism in the institutional-critique that animated conceptualism”
p. 153

Mercer, Kobena in “Tropes of the Grotesque in the Black Avant-garde” in Mercer, Kobena (ed.) Pop Art and Vernacular Cultures, London / Cambridge : Iniva / MIT Press, 2007