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- Mar 2025
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journals.openedition.org journals.openedition.org
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Clearly it is with the sweep of neoliberalism, World Bank developmentalism, biennial culture, large-scale international exhibitions, and contemporary art nomadism that “the global” became a post-Wende obsession in art history (Wende or Wendung, German names for the “turning” following the collapse of the Soviet Union, provides a concise designation for the period that begins with 1989) – contemporaneous with the “invention” of the contemporary in 1990s art history and its pedagogical institutionalization.
This sentence means that after the Wende (the political turning point following the collapse of the Soviet Union), the concept of “the global” became a major focus in art history. This shift was driven by broader forces like neoliberal policies, the World Bank’s development programs, the rise of biennials and international art exhibitions, and the increasing mobility of contemporary artists. In other words, global concerns became central in art historical discourse due to wider political and economic changes.
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