Did postmodernism kill New York art? The question has resonance because relatively little epochal new art has originated there in over 20 years. Anyone looking for a culprit need look no further than the Regarding Warhol show at the Met, featuring work by the maestro himself along with the many pretenders to the throne who followed in his wake. And while Warhol's early work was great, it was his later efforts that set the tone for what came next, the mixed bag of postmodern pop progeny that ranged from moderately brilliant talents like Cindy Sherman, left, to egregiously over-hyped hucksters like Jeff Koons, Richard Prince and all the rest who turned the New York scene into a pretentious extension of Wall Street. So it was fitting that the most incisive review of the show appeared in Bloomberg Businessweek where Lance Esplund opined, “I suggest you skip it. This cramped, predictable, ho-hum exhibition... is a celebration of the artist as opportunist.” Ouch. So how did postmodernism, a movement with roots in late Marxist critical theory, end up as the very thing it was supposed to critique?

Image Transfer: Pictures in a Remix Culture: Group Exhibition Curated by Sara Krajewski, Through Oct. 15, Newcomb Art Gallery, Tulane University, 865-5328