A comment from comrade PAKI.TV:
The situation of 1970 was described by Michelle Wallace, who was articulate about a possibility to mount a concerted attack againt biennialisation through unionisation:
But I was first struck by the true dimensions of that problem in 1970, when Faith and I attened a guerilla art action protest against Art Strike, which was itself a protest against ‘racism, war and repression’. A group of famous white male artists led by Robert Morris decided to withdraw their work from the Venice Biennale, a prestigious international exhibition, in order to protest US bombing of Cambodia and the murder of college students at Kent, Jackson and and Augusta. Although the protest was supposed to be against ‘Racism, War, and Repression’ (sexism was not yet on their agenda), Art Strike then expected to mount a counter-Biennale in New York without altering the all-white male composition of the show. This seems to be the key to understanding the intrinsic limits of Western cultural avant-gardism: while it can no longer deny its own white male supremacist presuppositions it canot be rid of them either.