Now, the matter of personal and familial legacy takes a sardonic turn toward interrogating contemporary Argentina, and a handful of young women
whose economic privilege and daily malaise outweighs a tangible contribution to society.
No less a figure than the artist Hans Haacke —
whose long - standing commitment to rendering transparent
economic, social, and aesthetic structures throughout culture has led him to be immanently associated with the paradigm — used the phrase «consciousness industry» as early as the mid-1980s to describe the sophisticated networks of institutional support necessary to make visible ostensibly adversarial avant - garde artistic gestures.4 Works seeking to emphasize the moral, political, and intellectual forces that determine and enforce culture, he observed, were nevertheless dependent on a museum or gallery platform designed to
privilege aesthetic experience.