ABSTRACT
This chapter aims to discuss the implications of movement itself by artists, works, or their viewers for definitions of modernity. The art discourse to which movement takes place is relativized by the movement of the incoming artist—its values exist in relation to those of other systems. The artist moves like a kind of storyteller who learns to tell many stories in ways that the other discourses through which he or she moves can learn to decode, interpret, and understand and have their hierarchies of value changed. Visual artists carry styles, or their own transformations of them, as a kind of protective talisman, one which will armor them against the accusation of plagiarism, sometimes of poor plagiarism, by the originary and usually Euramerican visual culture. In crossing the gap between perception and knowledge, the image of the artist, particularly of his or her own body, plays a prominent role as a temporally bound memory trace.
