Ten year later, there is no longer any work. There are just activities, and the possibility that value can be extracted from them across the content platform that is the historical now. The early 2010s saw a rush to baptise the emerging decade with terms like “post-internet” or “post-89.” These theoretical frameworks, built beneath official discourses – many of which focused on new strategies of representation made possible by web 2.0 – were a roving political argument targeting the work of art on the grounds of its ideological, as opposed to technological, modes of reproduction. Art can do anything, be anything, and work everywhere, all the while leaving open and ambiguous the messy question of who’s actually making it. Making it – does one ever “make” art any more than one “makes” money? And don’t both require a kind of misrecognition of its very forms of production?
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