Page numbers in italics and those followed by “n” indicate figures or tables and endnotes,
respectively. “Plate” refers to color plates.
AA Project (Ala Plastica), 25–26, 141–45,
plate 10
Abseits vom Netz, 261n136
abstraction: European culture and,
252n63; public art and, 189–92; repre-
sentation and, 23; site- specific knowl-
edge vs., 143–44; of space, 186; viewer
reduced to, 166
academy, 13, 34–35, 240n88, 267n35
The Accursed Share (Bataille), 101–2
activation: Bishop on, 63; Lissitzky’s
theory of, 232n4; Rancière on, 102;
Sierra and potential of, 172, 178
activist art, Bishop and Bourriaud’s dis-
comfort with, 31–33, 59
Adivasi society and culture, 77–79, 84–87,
91, 246n28, 247n33. See also Dialogue
Adorno, T. W., 1, 2
aesthetic autonomy. See autonomy,
African American neighborhoods. See
Project Row Houses (PRH), Houston
Agamben, Giorgio, 56, 119
agency: aesthetic model of, 178; Ala Plas-
tica and, 145; Alÿs’s When Faith Moves
Mountains and, 73, 76; deconstruc-
tion, artist as nomadic agent of, 56;
de- individuated, 138–39; “initiatives”
vs. “projects,” 137–38; meaningful loss
of intentionality and, 115; modernism as
disavowal of, 4; post- structuralism and,
52; Rancière’s “Emancipated Spectator”
and, 103; resolution of impasse between
identity and, 113; structuralist para-
agency, 239n80; textual paradigm and,
36. See also viewer and audience
agonism, Mouffe on, 223, 278n119,
aid organizations. See development; non-
governmental organizations (NGOs)
and aid agencies
Previous Page Next Page