p. 186
“border crossings”
Breaking the frame/short circuits
virtuosity in western art (or non-borderland art) is “dedicated to the validation of itself”…achieving a certain mastery—which suggests there is some thing to master, there are skills, there are universals (universal human themes) that one can master….the problem of universals which usually exclude all Others (all Other art that isn’t mastering what ethnocentric societies would suggest is Great…
communal/”native” art vs. western art—western art is housed in the best houses made by the best architects…whereas “native” cultures might have the art at home, in the neighborhood, outside (graffiti that is protected like a mural, but its not in a museum, it could decay, the building or wall could be torn down…vs western desire to preserve art (even to the point of taking some murals inside the museum…Egyptian artifacts –to the point of taking whole hog walls of hieroglyphics into the museum_)
post-colonialism would suggest that museums are places of crime

“white sterility” could perhaps be put under erasure if white folk take up multi-colored activities like Zen or Santeria—some peoples would complain this is the usual white co-optation

think of Hassan's post-modern/post-civilization comments with this too...civilization is often defined as good, progressive, orderly, better, (white), that which limits the "age of indeterminacies"...so post-civilization would imply indeterminacies vs. civilization's limiting of the chaos (that our notions of civilized order are really false simulacra...television with it's comforting codes)...the need to tame the native beast (the need to not "go native")

“ethnocentrism is the tyranny of Western aesthetics”