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IN THE MODERNIST IMAGINARY, a viewer’s encounter with an art object should be pure and unencumbered, free from any distraction that might interrupt the aesthetic experience. For an institution, this means erasing any sign of the contingencies the physical labor, the mundane bureaucracy that must contribute to an exhibition’s production. What would it mean, for art and for its viewers, to shatter this illusion? What would it mean to remind audiences of art’s invisible work that of the installers and exhibition designers, the painters and electricians, the forklift operators and audiovisual

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