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Discounts for fairs, museums, etc. given to students are seen as a genial act but also a means of increasing the social reproduction of institutions, investing a future viewership with whatever message the institution implicitly contains, the discount given to students and not mere youth.
But so visibility is a form of capital that CAD wields, and thus exhibitions featured are lent a implicitly critical affirmation placed among the countless other exhibitions which becomes the great flattening ground of art history, a new means of historical acceptability. For instance this is Altmejd’s first exhibition featured whereas his orgiastic forebear Matthew Barney and contemporary Urs Fischer have both had none. One would perhaps relish the lapse in publicity for the powerhouses, and this implicit form of criticism (both choosing one over the other as well as the decibels of its contemporary voice leaving swaths unheard) is left obfuscated to anyone but those “in the know” about the artist’s individual critical acceptability. Interestingly much of CAD’s taste tendency’s of the scrappy mysterio-surreal materialist can be seen in the Altmjed’s work, even if no one likes him some people are about to start bumping into him.
See too : Group Show at Neue Alte Brucke , S.O.A.P.Y. III at What Pipeline , Chris Ofili at the New Museum , Dai Hanzhi 5000 artists at Witte de With