(moments often charged with social upheaval and political transformation), artists saw professional opportunity in associating themselves and their work with the goals of political parties, emerging industries and other extra-artistic social institutions (Fig. 1). Such opportunity, we should also note, has been a driving force equally for modernist formal experimentation as for postor antiformalist realism.1 At the same time, there have been other, very different moments (also associated with various positions ranging across the stylistic spectrum) when artists did not respond directly to topical issues and did not seek out association with extra-artistic social movements and institutions and instead defined themselves