This symposium addresses recent claims that contemporary art is 鈥榮pectacularised鈥� and increasingly inseparable from the marketing of large-scale museums. But what do we really mean by 鈥榮pectacle鈥� today? And how useful are Guy Debord鈥檚 ideas (Society of the Spectacle, 1967) for analysing new conditions of the display of contemporary art? Are The Unilever Series commissions such as Carsten H枚ller鈥檚 Test Site really comparable to other forms of mass聽entertainment?
