Between the abundance of postwar Italy's "economic miracle" and the ascetic bent of Conceptual art, the artist Alighiero Boetti took up the multiple implications of making and thinking, consumption and revolution, local and global. His remarkable oeuvre spans both laborious craft and humorous Duchampian gesture; he went so far as to rename himself Alighiero e Boetti in 1972, the "and" a nod to the doubled demands on artists to be at once star persona and withdrawn auteur. On the occasion of a major retrospective of Boetti's work at the Museo d'Arte Contemporanea Donna Regina (MADRE) in Naples, on view until May 11, Artforum asked critic and curator MARK GODFREY to examine the artist's twinned and protean practices.
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