7.
Third, in the local record it is communication (as the exploration of new media, the attempt to enact Marshall McLuhan's ideas in art and the introduction of new subject matter) that readily identifies what is new and distinguishes it from what is old.

McLuhan espoused the idea of the sensorium as the work of art: "if politics is the art of the possible, its scope must now, in the electronic age, include the shaping and programming of the entire sensory environment as a luminous work of art."11 One could add much more to the mix that stimulated the sixties crisis in painting. Besides the darkness of the war in Vietnam and the erosion of the regard for authority that it engendered, the role of LSD and other psychotropic drugs as a utopian experiment played a special role in Vancouver's scene with no scene.12

It is through the lens of communication, as the antithesis of modernist painting . . .