Defining themselves as a „ band of individuals united in anger (…) dedicated to exploiting the power of art to end the AIDS crisis“, Gran Fury was officially established subsequently to a collectively produced art installation in the window of the New Yorker New Museum titled Let the Record Show… (Fig. Of all the various collectives that meet his criteria of ‘good’, activist art – and that are featured in his ’guide’-book to AIDS activism called AIDS DEMOgraphics – Gran Fury is by far the best known and – as of today – most institutionalized group that used visual means to fight the epidemic. In a by now almost canonical proclamation, the art critic and AIDS activist Douglas Crimp demands the production of art works that have the potential to safe lives instead of purely aestheticizing the epidemic, the suffering and the dying of people with AIDS (PWA): „ We don’t need to transcend the epidemic we need to end it,“ as he famously puts it in October’s special issue AIDS: Cultural Analysis / Cultural Activism, which Crimp edited in 1987.
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