In
The Conspiracy of Modern Art
the Brazilian critic and art-historian Luiz Renato Martins presents an engaging new account of modern art from
David
to Abstract Expressionism. Seen from the megalopolis of Sao Paulo, this art of Paris and New York—which were once seen as touchstones of modernism that embodied Revolution, Thermidor, Bonapartism, and Bourgeois ‘Triump’—now pulsates in a tragic, stale, key.
Equally attentive to form and politics, Martins invites us to look again at familiar pictures. In the process, modern art appears in a new light. These essays, largely unknown to an English-speaking audience, may be the most important contribution to the account of modern painting since the important debates of the 1980s