New York Times art critic Holland Cotter’s year-i- review piece Sunday opened with an awkward metaphorical shout-out to the lefty park-squatters of Occupy Wall Street and an excoriation of the “noxious” 1 percent: “Complacency Butts Up Against Game Changers”: "...art-worldlings did at least adopt one thing from the Occupy Wall Street movement: a new identifying label for the source of particularly noxious vibes emanating from art fairs, V.I.P. galas and museum boardrooms: namely the 1 percent."
One can hardly imagine a newspaper running a headline that suggested a fascist society like Nazi Germany had its good points. Yet the New York Times has carved out a side industry in headlines that suggest a bright side to Communist tyranny in Eastern Europe and the Soviet Union.
The latest came attached to art critic Holland Cotter’s 1,700-word review of “Ostalgia,” an exhibit of Soviet and post-Soviet art at the New Museum in Manhattan, splashed along the top fold of Friday’s Weekend Arts section: “When Repression Was a Muse.” “Ostalgia” is a coinage for the strange cultural nostalgia for Communism (i.e., inferior but somehow endearing cars like the East German Trabant) felt by some East Germans who found it hard to cope with the freedoms, opportunities, and responsibilities of a more capitalist society.