Hegelian notion that art is divorced from religion. Politics is a cornerstone of aesthetic judgement today, as it has been since the era of Romanticism. Following the rise of conceptual art, questions of sense and political discourse have encouraged the idea that, if a concept is deemed valid, the form through which it is expressed is automatically valid as well. Europe can be proud of its enlightened culture; yet, by contrast, oppressed communities in the Third World often form groups based on traditions with strong religious or magical elements, providing both a sense of identification and the strength to oppose dominating central powers. This is frequently seen amongst struggling minorities such as Australian aborigines, especially in countries with internal colonialism. Clearly, it should no longer be acceptable to dismiss all visual expression originating from religious activity as archaic or obscure. The revival of rites and their material manifestations is occurring in many societies as a defence against the effects of globalisation. The practitioners are consciously engaging in a dialogue with modernity, and are seeking to define the relationship on their own terms. The book accompanies an exhibition at the PAC, Milan, exploring these apparently distant yet enlightening realities. It includes a historical introduction documenting the Christian roots of contemporary western art and features work by Joseph Beuys, Dan Flavin, Lucio Fontana, Yves Klein, Hermann Nitsch and Antoni Tapies. Contemporary practice is seen through the works of artists from many different cultures: Art Oriente Objet (Benoit Mangin and Marion Laval-Jeantet), Jose Bedia, Frederic Bruly Bouabre, Mestre Didi, Charo Oquet, Kazuo Shiraga, Cyprien Tokoudagba, and several Australian aboriginal artists, including the Warlukurlangu.

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