We often talk about revolutionary art as that which shocks, that which radically changes what art is or can be. But Manet’s revolutionary art does more to the viewer than to the form. We tend to forget that often revolutions depend on new ways of seeing all that has been made invisible, forcing us to rethink the realities around us. This is where revolutionary art and social protest intersect, in that space where what is visible turns into a façade, and a new reality can emerge. Invisibility can be a powerful force in politics and art. The Communards knew this. Manet knew this. And those two desperate young men in Sidi Bouzid in Tunisia in December 2010 knew this as well. À nous! À nous!
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