True, artists too less and less resemble industrial workers, and more and more resemble managers. But they are still heroic, highly individualized managers nonetheless—that is, the successful ones (the lesser figures are now relegated largely to the artistic equivalent of care work). And it’s telling that, whatever else may change, and however much the Romantic conception of the artist now seems to us trite, silly, and long-since-abandoned; however much discussion for that matter there is about artistic collectives; at a show like the Venice Biennale, or a museum of contemporary art, almost everything is still treated as if it springs from the brain of a specific named individual.

We would like to offer some initial thoughts on exactly how the art world can operate simultaneously as a dream of liberation, and a structure of exclusion; how its guiding principle is both that everyone should really be an artist, and that this is absolutely and irrevocably not the case. The art world is still founded on Romantic principles; these have never gone away; but the Romantic legacy contains two notions, one, a kind of democratic notion of genius as an essential aspect of any human being, even if it can only be realized in some collective way, and another, that those things that really matter are always the product of some individual heroic genius. The art world, essentially, dangles the ghost of one so as to ultimately, aggressively, insist on the other.

The times we are living in are indeed “interesting,” as the title of this edition of the Biennale states: they resonate with a city awaiting the verdict of the forty-third session of the World Heritage Committee, which will likely add Venice to its List of World Heritage in Danger. Venice’s livelihood comes precisely from what is killing it (biennials included): if tourism were regulated, the economic survival of the city would be at risk; at the same time, if it continues to impact the environment of Venice the way it does now, the jewel of the lagoon will soon be destroyed. There are other structural problems related to the ethics of giant exhibitions: accumulation, we all confusedly feel, is damaging for art in general and contemporary art in particular. The implicit equivalence that is made when such large amounts of artworks are simultaneously displayed by private and public institutions on the same limited territory is frightening.