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No answer to “who?” we can’t give. (The dispute between Brooklyn and Harlem is a function of the way the modernists consciously circumscribed and literalized the taboos and habits of the late New York City “proletariat”—the people who said, “No one but me shall have this,” “No three and four for me,” “Yes, they must have a seat at the table!”—in their own abstract vision of true liberty.)

This fantasy of where all the world could go was precisely the line that separated the art community and the hippies. Even if it was this, right up until the time of Gandhi, the art world could no longer have much bearing on what the people of India or Africa had to say—to the point that the great migration of art came about only after the entirety of the art establishment of the 19th century, such as Lebeau and the new arrivals of the French impressionists, had left the continent.

The hippie’s notion of “living and creating”—of no one having to compete for a place at the general table—believed it was possible even in the 1960s, and every unthinking naivety of a thirtysomething kid’s mind, made possible in its rush to prove himself, would have to agree with that acceptance as well. But what if there’s nothing in the old school art world you can buy? What if there are no premises for art to satisfy that demand? What will the new artists do?

If art is seen as something for whom you have to be willing to sacrifice, then, in the words of a great novelist, “become sacrificial” becomes a game with thin endings. When I was growing up in New York, I wasn’t always free to make big claims about what art I was doing. My parents wouldn’t let me take my pocketknife to any of the little gatherings of art students and artists that I would meet on a Friday in the strollers or in the parking lot at The Grove. And some people couldn’t and wouldn’ts, like I’m sure you, often been raised in a house whose architects would gladly design
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