In the second half of the twentieth century, in the very decades when the concept of “media” entered the vernacular, the “medium concept” began to shape American art criticism and curation. This was no coincidence: “mediums” emerged as a category for the organization and appreciation of art as the dialectical counterpart to media, and in response to the cultural imperialism of its mass-produced forms. As art became increasingly public, mediums became the public face of art.

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