“ In Contemporary Art: World Currents I try to lay out more detail what I mean by that third current in art today. Unlike the remodernists, the retro-sensationalists and spectacle artists in the first current, those active in the third are not so committed to the project of the history of art unfolding through time by accretion, via tradition and variation, or through contestation and absorption.4 Nor do they share much of the priority for artists in the second current: to communicate critical, postcolonial, transnational ways of seeing both locality and the wider world-picture to a self-important, blinkered, Western-dominated international artworld. Younger artists are not so interested in these post-Cold War battles. Their instinct is that globalist thinking is in thrall to top-down power, as is concern about the future of museums and other artworld structures. They are much more interested in creative settings and community situations which can shift and change ways of living among their cohort so as to become more closely attuned to what’s happening to the planet. I deliberately don’t give a name to this tendency because that would cut against its multiplicitous character: it’s simply too diverse. “
