From ‘Guernica to Gaza’ was, and still is, a performative question as to the relevance of a dis-affirmative, critical practice with regards to ‘History Painting’ and an indictment delivered to the contemporary art market place, museums, galleries, curators as well as those ‘blue chip’ artists and their refusal to engage in contentious contemporary issues. Highlighting the cozy link between contemporary art and the political and financial establishment.
From Guernica to Gaza; From Tate Britain to the British Parliament.
