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Under threat from the blindness encouraged by commercial imperatives and intellectual zealousness is the existence of museums as museums, as essentially different from the rest of society, as nutritionally necessary sites for experiencing the profound and crucial "otherness" that is art, that makes the "visible arts" important and unique.
This may well be the museum quandary of the oughties: how to live with outrageous success and maintain an identity as a museum; how to preserve and possibly improve the experience of art as art for ever larger and more diverse audiences; how to benefit from cutting-edge academic theory without reducing the centrality of what the art critic Dave Hickey calls "the visible arts".
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There is no visible art here, only a harrowing compression.
"Barely visible art collection" is a brilliant clue for NUDES.
A flat-screen television set hangs on a wall in the living room, the only piece of visible art besides some curious twists of metal on the floor, which turn out to be eight-pound hand weights designed by Phillipe Starck.
Expect her to be a very visible art-house figure in years to come – along with Paula Beer, German star of Frantz, a very elegant black-and-white melodrama from hyper-prolific François Ozon.
The idea: to provide people with free, visible art that they can enjoy 24 hours a day, 7 days a week.
And of course art – especially highly visible public art, just think of Banksy – contributes to this process.
One such effect, visible in art and in the relation between art and society, is the collapse of the past and future into the present, which he characterizes as "Egyptian" or "baroque" in nature.
These walls are festooned with lively murals and graffiti that represent some of the country's most visible public art.
Mr. Melamid and Vitaly Komar, a fellow Russian émigré, were for years a highly visible Conceptual art duo in New York.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com