Still, I felt it to be politically retrograde to participate in those discussions. Part of that has to do with the fact that the extent to which art can be described as a reflection of culture is in itself a gesture that superimposes a presumption of assent. So you become a part of a way of communicating that is culturally validated and you are participating in culture even if you are in resistance to it. The work of both of these collectives had potency, without doubt, but canon is one of the cultural mechanisms for diminishing radicalism and for de-fanging dissent. Canon that elevates an “art of dissent” simultaneously domesticates it, making it easier to privilege cultural production over messier and more disorderly truths, and I’m referring here to resistance.