presents completely antiquate utensils that no longer have a function in the manner of a museum in his «Musée d'art moderne, section cinéma» would fall into the latter category. But this calculation does not work out. On the contrary, it becomes clear in each case that there is a complex link and mutual integration of assimilation and dissimilation strategies, and it is in precisely this that we see art's ability to place itself or the museum in a critical relationship with other fields of cultural experience that challenges viewers to reflect (for this see Eric de Bruyn's contribution «TITLE»). But against this we have to set an awareness that other spheres of «visual culture»-like cinema, fashion, advertising, design—function autonomously as discourses and do not have to rely on art, the concept of art or the museum as an institution. For this reason it is scarcely surprising that may artist would like to have the kind of intelligent, visually experienced and aesthetically reflective audience that feels at home within these dimensions of cultural experience and production and is also in a position to think about social and political content. Here it is not so much the museum as an institution that is the central reference point,

but Hollywood as an industry, and in fact precisely on those occasions when works run counter to Hollywood myths, satirize them, or subject them to other, sub-cultural experiences as for example in the films of Kenneth Anger and of Andy Warhol or in a different way the films of John Baldessari and of Robert Smithson (for this see contributions by Diedrich Diederichsen, «TITLE,» John Miller «TITLE» and Tom Holert, «TITLE»). Given the power of Hollywood, the art context can very easily seem almost like a kind of subculture in its own right, but subcultures are always able to keep an awareness of aesthetic potential awake and to hold a mirror up to culture. The boundaries between the art context and the context of the cinema were not designed on a drawing board, but are much more like a meandering river that is constantly looking for and renewing its bed. This can be demonstrated not least through a branch of film that was often derided as marginal: animated film. But this did not just appear at the beginning of the cinema's development, but has finally acquired a new dimension in computer animation; it does not just stand for infantile entertainment, but— in the abstract