Abstract

This article examines two recent projects by the Brooklyn-based artist Brendan Fernandes at the Guggenheim Museum and Art in General. It argues that Fernandes's practice is important because it shows the language-power relations by which cultural identification is produced, and it takes those relations as his work's central problem.

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Additional Information

ISSN
2152-7792
Print ISSN
1075-7163
Pages
pp. 22-35
Launched on MUSE
2013-02-07
Open Access
No
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