The Originality of the Avant-Garde

In the AI Story

The avant-garde ideology of the perpetual revolution—Futurism's death of the past, Suprematism's birth of pure form, Abstract Expressionism's sovereignty of gesture—was grounded in the Romantic conception of the artist as a unique expressive consciousness breaking with convention to produce unprecedented form. Krauss's art-historical evidence showed this conception to be unsupportable: Rodin's Gates of Hell existed in multiple casts, the grid appeared in Mondrian, Agnes Martin, Sol LeWitt, and dozens of others who experienced it as discovery, the readymade was the selection of the already-made. The discourse of originality required systematic suppression of this multiplicity and repetition, and the suppression was performed by the same institutions (museums, critics, markets) whose authority depended on the originality myth.

Krauss's dismantling of originality preceded by decades the computational demonstration of the same thesis. When large language models generate text by predicting the next most probable token given a training corpus, they make explicit what was always implicit in human creative production: synthesis from a pre-existing field. The Dylan analysis in The Orange Pill—"Like a Rolling Stone" as a configuration of absorbed influences—is Kraussian in structure. Dylan was not the origin but a stretch of rapids in a river that flowed through him, and the song's genius lay in the specificity of the configuration rather than in its ontological novelty. AI performs the identical operation without the biographical apparatus that conceals it.

The shift from originality to criticality as the primary evaluative criterion occurred gradually in the art world between the 1970s and 1990s. Levine's re-photographs, Richard Prince's re-photographed advertisements, Cindy Sherman's self-portraits that were not self-portraits—this work was valued not for being new but for the precision of its critical intervention. The evaluative question shifted from "has this been done?" to "what does this configuration reveal about the conditions of artistic production?" AI production demands an analogous shift: from "is this original?" to "what does this collaboration reveal about the intersection of human intention and machine generation, and is the revelation adequate to justify the output's existence?"

The economic dimension of originality's collapse is the one Krauss analyzed least directly but which Arthur Danto and others developed: when mechanical reproduction made copies abundant, the art market responded by constructing scarcity artificially—numbered editions, authentication procedures, certificates of provenance. The software death cross Segal documents is the collapse of an analogous artificial scarcity: code was valuable when it was difficult to produce, and the institutions organized around that scarcity (software companies, licensing models, the career structures of programmers) are being repriced because AI-generated code eliminated the production difficulty. Originality as economic category follows the same trajectory—abundance destroys the scarcity on which the value proposition was built.

Origin

"The Originality of the Avant-Garde: A Postmodernist Repetition" appeared in October 18 (Fall 1981) and became the title essay of Krauss's 1985 MIT Press collection. The essay's art-historical evidence was drawn from Krauss's decade of research into the material practices of modern sculpture, and its theoretical framework was indebted to the post-structuralist critique of presence, origin, and authorship that Derrida had been developing since the 1960s. The repetition in the essay's subtitle was not incidental—it named the compulsive return that the discourse of originality could not acknowledge.

Key Ideas

Originality as myth. The avant-garde claimed to produce the radically new while structurally repeating the gesture of claiming newness—the myth organized value without describing reality.

Repetition concealed by rhetoric. Each movement experienced its own deployment of the grid, the readymade, the manifesto as discovery—the concealment was structural, not personal.

Citational structure of all production. Human creation is synthesis from a pre-existing field, identical in structure to machine generation but concealed by biographical apparatus.

Economic function of the myth. Originality organized the scarcity on which cultural markets depend—AI's abundance collapses that scarcity and requires new economic logics.

Criticality as replacement criterion. When originality is untenable, value shifts to the precision of the critical intervention—what the work reveals rather than what it invents.