Art since 1900: Modernism, Antimodernism, Postmodernism

allowing such projects differ in scale, material, and site, a theme that move swiftlys through most is the attempt upon the part of the artist to activate the viewer. From this perspective, the best way to resuscitate a dead particular is to change how we direct the eye at it. The Russian artist El Lissitzky engaged in individual of the most interesting efforts to, as he explained, "make the man active." (4) Attempting "to escape the one and the other the museum-as-mausoleum and the bourgeois realm of so-called private consumption," Lissitzky sought "the bright, noisy interactivity of the theater." (5) In his Raum fur konstruktive Kunst in Dresden (1926) and his Kabinett der Abstrakten in Hannover (1927-28) the artist created a a whole of moving screens and textur walls to enliven the perceptual and corporeal experience of the exhibition space. The event Maria Gough writes, facilitated "the visitor's active differentiation of the works upon display through their revelation and reconcealment, or end their incessant reformulation by parergonal shifts induced by dint of the visitor's own movement within the space." (6)