From a Metropolis magazine review, discussing the "French theoretical architecture show" at the Guggenheim Soho a few years back:
The fascination of French artists and architects with surrealism may explain why they're so often charmed by postmodernity in its more kitsch incarnations. Take, for example, one of the artists featured in "Premises," Bertrand Lavier, who contributes a suite of work called "Walt Disney Productions," life-size replicas of the phony abstract paintings and sculptures in a 1947 comic strip in which Mickey Mouse visits a modern art museum. The catalogue is worth quoting for its summary of the show's own delirious critical stance:
Oh, lighten up. Catalog writer, reviewer, you're both wrong. Lavier's installation isn't meant to "resuscitate abstract painting"--who really believes that?--nor to threaten Disney's "battalions of imagineers." It's a meditation on historicization, to use a rather ugly word: refracting capital-A art through the lens of a pop culture artifact to show how taste and vision change from era to era. The images in the comic strip (and by sly implication, the art referenced) are clearly from the '40s, but it takes a few decades to see that conclusively. What things from our own time that we take to be immutable will seem this "period" in 20X3? (Candidate: Matrix "bullet time" effect.) Lavier tackles the subject with wit and polish, and it's depressing to read such a grave debate surrounding this work.