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The critical fate of surrealist visual art in America fluctuates based on the value ascribed to it by critics of contemporary art. Specifically, its mid-century dismissal by Clement Greenberg as

The critical fate of surrealist visual art in America fluctuates based on the value ascribed to it by critics of contemporary art. Specifically, its mid-century dismissal by Clement Greenberg as retrograde, academic kitsch, condemned it to several decades of irrelevancy; and, in a direct challenge to Greenberg, the critics and scholars of the 1980s and 90s, in particular October group members Rosalind Krauss and Hal Foster, rehabilitated Surrealism and returned it to contemporary relevance.

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