If something useful could be taken out of the museum and into life today, it might be the question of how to position oneself as a producer in relation to this never-ending work we call consumption, so that we, too, can start asking ourselves where and how the emergence of the subject happens along this slippery, twisted assembly line that links spectatorship to labor. It could be that all we have in common is the fact that nothing here belongs to use, and that Foucault's "aesthetics of the self" is from now on an art of piracy and duplication. By disturbing the idea or the image of property, we automatically make ourselves (our properties) slip too. And it's not as if the artist is immune or outside of these disturbances; they are now part of the activity he calls painting.
*Originally published in the Richard Prince exhibition catalogue Canaries in the Coal Mine, Astrup Fearnley Museum of Modern Art, Oslo, 2007.
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