Circulation-friendly art like installation is celebrated as democratic and philosophically honest.

Evidence

Boris Groys differentiates installation from exhibition in “Art and Money,” e-flux 24 (April 2011), e-flux.com. For Groys, the inclination to installation, and the broader injunction to circulation beyond objectification—to art experiences rather than artworks, to propagating information about art beyond exclusive encounters with art, to happening rather than contemplation—are basically positive developments. He associates circulability not only with democratic access but also with a “revolutionary” “acceleration of the world of flow” and to a metaphysically more honest “synchroniz(ing) with the flow of time.” In the Flow (London: Verso, 2016). — Anna Kornbluh, Immediacy, or The Style of Too Late…, 380

Categorization

• DEFINE: Defines the conceptual shift toward art-as-flow that immediacy theorizes, contrasting installation (experience) with exhibition (object).
• XREF: Links to Groys’s ‘In the Flow’ and connects to Kornbluh’s broader account of immediacy’s ‘present without future’ temporality.