摘要：In his 1974 work, Theory of the Avant-Garde , Peter Bürger developed a sociological argument that the practices of the historical avant-garde had emerged as a fusion of art and life, merging practices into a hybrid assault on autonomy that can be characterized as distinctly avant-garde. Refuting previous positions, Bürger argued that the avant-garde wasn’t concerned with merely dismantling the classifications of art, but the institution of art in its entirety. This was dramatically opposed to Clement Greenberg’s hegemonic theory of art practice, where the segregated medium was the sole attribute through which the avant-garde could advance. It was in opposition to this diffusion of art practice that Bürger’s theory framed a radicalized lens through which the avant-garde could be reconceptualised: combatting the segregation of medium with a deliberate fusing of the structures of art and their political and social histories. This paper will look at the significant role fusion, as a strategy, plays in Bürger’s seminal work and its reception. It is the recognition of fusion as an oppositional system in art production that not only distinguishes his approach from early incarnations of modernism, but has also seen the extension of his work into ongoing critical projects in art theory in America, which have radicalised fusion as a critical and creative practice.
