is hopefulness in this confrontation. From this obscurity, Prince’s models hold
court spontaneously, both beautiful and playful but never captive: the freedom
to play with beauty marks our new monumentality.
which we commit to memory in the form of community identities ought not be and
cannot be subject to rules, as if beauty and freedom are a game. If beauty is
exclusive then freedom is occulted by limits and obstacles to the spontaneity
essential to beauty and play. Prince’s models hold us captive in the absence of
the previous limits and captivated with what was before outside those bounds of
beauty, now tumbling like old statues in public squares.