“…(R)ecent confrontations within the field of contemporary art have precipitated an awareness that there have emerged in increasing numbers, within the last decade, new critical, artistic formations that foreground and privilege the mode of collective and collaborative production. Is this return an acknowledgment of the repressed memory of a social unconscious? Is the collectivization of artistic production not a critique of the poverty of the language of contemporary art in the face of large scale commodifications of culture which have merged the identity of the artist with the corporate logo of global capitalism? These questions shadow the return of collectivity in contemporary artistic practice and in so insistent a manner, across a broad geographic area that to ignore the consequences is to miss the vital power of dissonance that is part of its appeal to the contemporary thinkers and artists who propose collectivity as a course artistic work. Of course, we need not to be reminded that there is nothing novel about collectivity in art as such. It’s been a crucial strategy of the avant-garde throughout the 20th century. Therefore, a proper understanding of collectivity today would have to be traced through its affinities with past examples. This story belongs to the history of modernism proper…” From The Artist as Producer in Times of Crisis by Okwui Enwezor.