In October 2010, I emailed Chris to ask if he was interested in taking part in a special issue of E-flux Journal that art critic Sven Lütticken and I were editing. The issue focused on whether contemporary art had addressed the rise of right-wing populism in Europe, the US, and elsewhere, and how these largely nationalistic, homophobic, and xenophobic movements impacted culture and art. With the ascendance of the Tea Party, Sven and I wondered if it were possible to chart a genealogy of right-wing groups on both sides of the Atlantic and illuminate their familial relations.

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