{"footnote":"\u003Cp\u003E  In this broad scope distinctions between \u0026lsquo;modern\u0026rsquo; and \u0026lsquo;postmodern\u0026rsquo; are often elided; hence my use of the hedge \u0026lsquo;(post)modern\u0026rsquo;. I borrow the term \u0026lsquo;preposterous\u0026rsquo; from the Dutch art historian Mieke  Bal, whose \u003Cem class=\u0022emphasisClass\u0022\u003EQuoting Caravaggio: Contemporary Art, Preposterous History\u003C\/em\u003E (1999) is an early instance of this interest in anachronism.\u003C\/p\u003E\n","audio":[],"video":[]}