IF we consider the differences between what an artist perceives as resistance from their audience and what their audience perceives as acceptable standards (which is a tension usually expressed in conflict?) . . .
THEN, we should not be surprised by both parties being unclear about the artist’s role in community.

For example, wrote Jacques Barzun, a coherent dynamic of artistic styles—the dominant versus its responsive variants—usually benefits a society’s appreciation of art. Whereas, a multitude of individualized and scattered styles (strong pluralism) encourages society to withdraw from being engaged with art and retreat to being merely interested in it. Barzun did not mention Duchamp by name, but the French iconoclast’s bold assertion that the gesture of art resides in the naming accomplished by an individual “genius” aligns with Barzun’s timeline for the complete bewilderment caused by an ultimate priority for individual liberty.