ABSTRACT
The space of the museum, properly considered, is a kind of common space, and thus thinking about art in relation to the museum is always to think a certain post-capitalist scenario: Communism is a Louvre, a British Museum. Undoubtedly, of all the attempts to think a post-capitalist scenario, that of the Russian art theorist Boris Groys is amongst the most interesting. The Communist Postscript is in many regards the logical continuation of Groys' The Total Art of Stalinism, originally published in 1988. The work of art that is able to break with all exigency, all sense of capitalist emergency, the shortness of time that capitalism imposes, and occupy another time: a time of eternity or looking back from the end of tilings that Grays will call inetanoia: "Every work of art indicates the transience of the conditions in which this artwork emerges.
