From autonomous to generally applicable art

In this article, author offers a historical overview of the increating instrumentalization of formerly autonomous, critical forms of artistic practice by Western welfare states from the 1990s on, focusing in particular on what has occurred since the 2007/2008 financial crisis. Discussing both the Dutch funding program The art of impact, and the Athens biennial as case studies, she argues that a shift has taken place that has led to the proliferation of 'generally applicable art'. Such art is framed as a directly 'useful' measure against societal, political, economic, and environmental ills. In such a context, where the function of art has seemingly shifted from critique and reaction to reform and repair, what, if any, possibilities are left for artistic subversion?