ABSTRACT
New York plays a central role in Krisztina Passuth’s art geography because of its traditions and because art is to be found there not only in museums and galleries but on the street and in the city itself. The United States became recognized as a leader in the art world only after the breakthrough arrival of Pop art in Europe with the Venice Biennale in 1962. In fact, by then it was hardly on the periphery, though the decades-long heritage and prestige of the School of Paris obscured the visibility of new developments outside France. New Pop art works are created even today, but their role is not the same as it was a decade and a half ago. Pop art became absorbed into the common consciousness, it has become a living tradition, and in some measure has also become a point of departure for almost all subsequent trends.
