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MK In your discussion of the “Sensation” show at the Brooklyn Museum last fall, you say that the British artists seem less demoralized than their American counterparts, in part because the Brits don’t suffer from the funding deficit that artists here face, but also because they seem to work under the illusion that making progress, that doing something fundamental, is a direction. I take it that the illusion here is relative to the pluralism in art you espouse, according to which the history of art has no direction anymore. How is it, briefly, that you can be a pluralist in art, as well as in criticism, yet insist that you have no use for pluralism in philosophy, where you remain an essentialist?

AD Philosophy in its nature is either true or false. That’s not the case with art. Pluralism in philosophy consists in treating it as if philosophy were art—one admires the logical architecture, the vision, or whatever. There is that. But in philosophy one aims at truth.



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