Eli Diner is a writer and editor based in Los Angeles.
What could an art-museum exhibition of former Confederate memorials offer to historical perspective? Aesthetics, of course – and a lesson in the correctness of so much contemporary art.
In Los Angeles, a second take on a watershed exhibition underscores how little has changed aesthetically and conceptually since 1992.
A Los Angeles exhibition devoid of biography, photographs, and explanations turns museum-going conventions into vectors for measuring empty space.
