According to the blurb, the book 'examines the relationship between contemporary art and the law through the lens of integrity. In the 1960s, artists began to engage conspicuously with legal ideas, rituals, and documents. The law — a primary institution subject to intense moral and political scrutiny — was a widely recognised source of authority to audiences inside the art world and out. Artists frequently engaged with the law in ways that signalled a recuperation of the integrity that they believed had been compromised by the very institutions entrusted with establishing standards of just conduct. These artists sought to convey the social purpose of an artwork without overstating its political impact and without losing sign of how aesthetic decisions compel audiences to see their everyday world differently. Addressing the role that law plays in enabling artworks to function as social and political forces, this important book fills a gap in the field of law and the humanities, and will serve as a practical "how-to" for contemporary artists.'


The book includes a chapter on Tehching Hiseh's One Year Performances.

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United States

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Models of Integrity: Art and Law in Post-Sixties America