Even as arguments
against modernism's supposed transcendence of daily life were issued by a host of global players — Hélio Oiticica and the tropicália movement in Brazil, Guy Debord and the Situationist International in France, the Art Workers» Coalition and early land art in the us — many influential curators and
critics doubled down, most notably Michael Fried in his 1967 essay «Art and Objecthood», a defence of
medium specificity and the priority of immediacy and opticality.