Catherine Millet Reflects on 1968's Legacy in Art and Contemporary Censorship

Catherine Millet recalls living with Daniel Templon on Rue Bonaparte during the 1968 events, experiencing tear gas in the streets but feeling disconnected from student demands. She notes that while May 1968 did not immediately transform art production, it reformed art education by bringing radical artists into teaching roles. Millet observes that today's globalized art world, with its diverse practices, stems partly from 1968's open-mindedness, yet she criticizes the current speculative market trapping many contemporary artists. She argues that artworks should prioritize ideas over money. Millet contrasts 1968's playful spirit and sexual freedom with today's perceived conformity and backward steps in sexual liberation. She identifies censorship resurfacing in contemporary feminism, particularly after the Weinstein scandal, rejecting narratives of women as eternal victims. Millet questions why educated women, unlike factory workers, cannot stand up to authority, emphasizing the need for strength and education. She reflects that younger generations appear more serious and conformist, lacking experiences like unemployment or AIDS, yet believes morality should transcend contingencies. The text originally appeared in French in 'Femmes et Filles. Mai 68' by Éditions de l'Herne in 2018 and was published in ArtReview's May 2018 issue.