This paper focuses on practices that captured critical and curatorial attention in Scotland and England at the turn of this century: relational aesthetics and the new formalism. Critical and curatorial representations of these practices have tended to present each as novel and as dichotomous. I argue that dominant representations of each tendency are mypopic and parochial, and ignore vernacular mobilisation in favour of hegemonic imaginaries such as ‘Britishness’ and the ‘new internationalism’. Paying closer ethnographic attention to the differentiated glocal communities in which such art was produced and consumed offers an alternative, culturally invested reading.
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