By inserting the work of contemporary artists into global channels, E-State Realisms identifies the absence of critical contemporary art in the viral domain. Here artists are dealing critically with and not about the digital/IRL landscape. They are active players in the systems they critique. The neoliberal deregulation of capital as a state of exception exemplifies how corporations are currently privileged at the expense of citizens. Similar to offshore tax avoidance, the neoliberal art market stages artwork as a temporary home for accumulated wealth. This conflation places the voice of critique in a murky position. In order for Art to theoretically influence political attitudes or act as a political force, it must have the capacity for mass appeal. Art with a capital A remains in a double-bonded system of both desire and disenfranchisement. Critique has become an image rewarded as content that produces value which only serves to reify the systems of abstract capital that have sentenced Miami to the ethereal realm of the hyperreal. E-State Realisms attempts to reclaim art as critique by rethinking the terms of complicity and the spatial configurations of content.

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