Paris based cultural theorist Boris Groys exerts a strange pull on the minds of many who seem predisposed to accept what he has written about everything except the Soviet experience. When it comes to his writings about the relationship between art, curation and the internet, he is listened to and his ideas are formative of our contemporary discourse on modern art. 

When it comes to his varied works on philosophers, we engage with his iconoclasm. There is something attractive about a way of looking at philosophy that draws its model from Duchamp’s (or R. Mutt’s) expo of an upside-down urinal.