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by which then us feeling art's critical function better at surviving commercial shipment while the spiritual arrives less intact. Like preachers made richer than the Gods they represent through the thankless loaning their congregation's credence, the Eliasson's "worth" for reinventing the funhouse as some sort of ecological imperative could beget an equal crisis of faith. Particularly when the package is the world outside set in a different box. A critique of any art surely. Maybe the wealthy preacher is just really good at what he does, attracting congregations. But somehow the spiritual should survive in commodification, everything else must. Seemingly why we gave up on it.