Fredman makes the original argument that some of the most innovative works of poetry and art in the postwar period (1945-1970) engaged in a "contextual practice," a term that refers both to a way of making art characterized by assemblage and to a new relationship between art and life, an "erotic poetics."
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Fredman makes the original argument that some of the most innovative works of poetry and art in the postwar period (1945-1970) engaged in a "contextual practice," a term that refers both to a way of making art characterized by assemblage and to a new relationship between art and life, an "erotic poetics."
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