political art made in repressive contexts is likely to lose its denunciatory character when the following developments occur in the intermediary, buyers, and artists: the intermediary (meaning the institution that buys the artwork from the artists and sells it to individuals, shops, or organizations) becomes more politically conservative, fearful of repression, faces economic hardship, and has the power to enforce changes in the art form; new buyers emerge and old buyers stop buying; and new artists become involved, an artist successfully develops a new motif, artists censor themselves, and the artists witness or have new experiences. Hence, protest art may be as much an expression of intermediary’s and buyers’ preferences as it is of the oppressed individuals that produce it.
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