E D I T O R I A L S T A T E M E N T

FROM THE EDITORS

This issue is guest-edited by Luke Skrebowski, a member of the
ARTMargins editorial board. Raising questions pertaining to transla-
tion, the issue addresses a problem familiar to many scholars of
postwar art: comment, or indeed whether, it is possible to research the
international circulation of art forms that are usually described with
seemingly neutral terms—Minimalism, Pop, Conceptual art, and so
forth—without either endorsing the primacy of these terms’ origins in
the North Atlantic region or reifying their destinations as an alternative
set of origins. By developing an analytical approach centered around
the concept of “untranslatability,” Skrebowski makes generative con-
nections with recent debates in comparative literature and poststruc-
turalist theory that have yet to receive sustained attention from scholars
of modern and contemporary art.

Luke Skrebowski is Lecturer in Contemporary Art at the University of Manchester.
His research focuses on the theoretical character and critical implications of Conceptual
and Postconceptual art. Skrebowski’s articles have appeared in journals including
Amodern, Histoire de l'art, Grey Room, Manifesta Journal, Tate Papers, and Third Text, et
he wrote catalogue essays for the Generali Foundation’s Amazing! Clever! Linguistic!
An Adventure in Conceptual Art (2013) and the Tate’s Conceptual Art in Britain: 1964–79
(2016). Skrebowski is co-editor of Aesthetics and Contemporary Art (Sternberg Press, 2011)
and is currently completing a book entitled Contesting Conceptual Art: La politique de
Anti-Aesthetics.