Moxy

The other argument depends on the anachronism involved in the experience of works of art, the awareness that regardless of the moment of their creation they still have the power to affect the present. p1

 Translation is as impossible as it is necessary: impossible because, as Walter Benjamin points out, every translation from one language into another involves the creation of a third that corresponds with neither, and necessary because there is no other way of conceiving the possibility of transcultural communication or the potential of relating the image to the word.

As Johannes Fabian argues, it was only possible for Western powers to aspire to control the rest of the globe's cultures if they were characterized not only as spatially exotic but also as temporally backward
heterochrony (many times existing at the same time)
p2

The logic of chronology, traditionally history's overriding concern, is guaranteed by the sense that time has a purpose and a goal. p. 3

the impact of time on reading and meaning of images
 If the time of the work is not to be restricted to the horizon of its creation, then its status as an agent in the creation of its own reception, its anachronic power, shines through. The "presence" of the work of art-its ontological existence, the ways it both escapes meaning yet repeatedly provokes and determines its own interpretation- comes to the fore.
p3
The tension between these apparently conflicting demands-the recognition of the specificity of a work's aesthetic presence and the interpretation of its social and cultural significance- has productively animated art historical literature in the past, as it continues to do today.
p4
A work can stop us in our tracks, so to speak, and insist that we acknowledge a form of perception that differs from that of the context in which it appears. Difference thus attempts to capture the perceptual awareness that temporalities precede our presence and depend on it. It gestures toward the to-and-fro of experience, the sense that what is called objectivity only receives that label as a consequence of its encounter with a subject.
p5
In the aftermath of colonization, economic, technological, military, and cultural factors still serve to maintain the time of Western Europe and North America as that against which all others are calibrated. Whether these hierarchies are accepted or challenged, it is utopian to pretend they do not exist.
p5
Does our awareness of the presentism of historical writing undermine a commitment to understanding the deep past?
p38

Do we need a new modern?  When is it time to change your voice or let go of a past obsession or problem- when you are satisfied.  Are we satisfied as in it is solved or that it cannot be soved and we are bored with the prospect.  What was the question of modern post-modern?
  It was a rethinking of space content form color economics audience... What was found what are we interested in finding out or searching or researching now? Is it a different question than the modern or post modern questions?
Modern art was inherently revolutionary, and thus antitraditionalist, antimimetic, and antihumanist. It explicitly set itself against the established conventions inherited from earlier ages. Rather-than see modern culture as the continuation of practices established in the Renaissance as the late nineteenth century had done, the artists of the early twentieth century aspired to a total break. If the Renaissance as a period was discovered as part of a historical progression inexorably leading to the naturalist and realist achievements of nineteenth-century art, it was now possible to see the modernist attack on the naturalism and realism of the previous period as part of a teleological movement toward greater and greater abstraction.
p38
[ from endnotes: 4. One of the most enduring articulations of this ideology is found in the work of Clement Greenberg. See his Art and Culture: Critical Essays (Boston: Beacon Press, 1989). For reflections on art history's modernist moment, see Thomas McEvilley, '~t History or Sacred History?," in Art and Discontent: Theory at the Millennium, 133-67 (New York: McPherson, 1991).]
the world wars forever changed the global consciousness
changed the question
Speed of transformation biggest transformation.

Jean-Francois Lyotard suggested that modernism itself has come to an end, and that postmodernism was its successor.6 This claim produced a furious response, and the value of the term postmodern is still debated today. The discussion proved so exhausting that it is difficult to use the term without a degree of irony.
p39
more about Lacan, Derrida, Fucault and Barthes, arguments are all just constructs of the capitalist regime.
Capitalism and modernism, in other words, are synonymous.
p40