“The question posed by contemporary art imposes from the outset the task of bringing together what threatens to fall apart into two antagonistic poles: on the one hand, the art that appears historical, and on the other, the art that seems progressive. The appearance of art as something historical can be described as the delusion of a culture that holds that only what is already familiar to us from our cultural tradition is significant. The appearance of art as something progressive, on the other hand, is sustained by the delusion of the critique of ideology. It claims that history should now begin anew, since we are already thoroughly familiar with the tradition in which we stand and can safely leave it behind. But the riddle that the problem of art sets us is precisely that of the contemporaneity of past and present. There is no question here of anticipation or of degeneration. On the contrary, we have to ask ourselves what it is that maintains the continuity of art and in what sense art represents an overcoming of time.” – Hans-Georg Gadamer, “The Relevance of the Beautiful”