Amy Bryzgel
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Institutional critique
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The 1960s and 1970s in the West were a time of great civic protest and challenging of the status quo. In Eastern Europe, there was generally no art market to speak of. In the Soviet Union and the Eastern Bloc, the main patron of the arts was the state. Some form of a market economy did exist in Yugoslavia, but still none comparable to that experienced by artists in Western Europe and North America. One can observe numerous examples of Yugoslav artists engaging in institutional critique in performance art of the 1960s and 1970s. In the post-communist era, the need for institutional critique has perhaps become more vital as artists work to navigate both the Western art market and the local art infrastructure. Institutional critique is just one method by which artists in Central and Eastern Europe have been closely tied to developments in the West.

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