—How have and do artists position themselves beyond recognition?
—Does the artist have a privileged role to play in seeking a society beyond the recognition of the State?
—In what practical ways do artists function beyond the State: e.g., through what daily economic, social, and extra/legislative practices and modalities?
—How do the formal qualities and content of art works reflect the problem of post/recognition?
—Is there an aesthetics of “direct action” and extra-legal political actions that intersects with the problems and questions of aesthetic discourse?
—Inasmuch as State recognition relies on the concomitant recognition of the marketplace (capital) and the university, how might artists exist without currently dominant markets and liberal institutions?
—Should art have a different social function than it currently maintains and/or aspires to?
—Can strategies that we associate with non-Statist political blocs and subjectivities—e.g., mutual aide, group self-determination and governance, practices of everyday resistance and collective insurgency—be pursued through an art practice and/or aesthetic discourse?
—To what extent is art history/contemporary aesthetic discourse categorically embroiled with recognition politics, thus beholden to political formations and subjective enunciations determined by the politics of the Neo/liberal State?