Reviving the avant-gardes: applying Ranciere to BurgerIntegrating art into the practice of everyday life: the creed of the avant-garde, as defined by Burger in his Theory of the Avant-garde – it was a manifesto that he declared to be intrinsically suicidal, an obituary rather than a proclamation of the future. Since then the prevailing narrative of the avant-garde has been that of decline, ceding defeat to its institutionalization. The avant-gardes could shatter the forms of autonomous art, but those dispersed contents could not ultimately mark a path towards the liberation they promised. Arguing that the avant-garde was ultimately a failed project, Burger proposes that capitalism fulfilled their dream on its own. terms, art loses its autonomy in the general anesthetization and commodification of life. Burger writes: "...the cultural industry has led to the false elimination of the distance between art and life, and this also allows us to recognize the contradictory nature of the avant-garde enterprise: the result is that the avant-garde, despite all its The elimination of the art of affirmation by the forces of productive consumption became complicit in the total subsumption of Art under capitalism”. For this reason, any discussion of the avant-garde risks appearing belated, harking back to the problematic contradiction outlined by Burger above. However, this presupposes that the end of autonomy brought by capitalism takes the same form as that which the avant-garde sought to achieve. Even if Burger does not explicitly identify them, he nevertheless fails to distinguish them, and this ambiguity itself merits a reconsideration of the relationship of the avant-garde to contemporary artistic practice. In fact, if the genealogy of Burger's avant-garde is in fact... middle of paper... the performances do not materialize through their documentation, there are still many photographs and videos of his works, taken discreetly, circulating on the web. Likewise, the reception of Yoko Ono's 2003 reprisal of Cut Piece (1964) as captured by the CBSnews.com article, "Crowd Cuts Yoko Ono's Clothing Off" is typical of the sensationalist reception that characterizes market consumption cutting-edge practices. So Burger was right in saying that the cultural industry consumes the most radical gesture, because no one is completely outside the market, the circuit of exchange. On the other hand, no one is completely involved: there remain parts of humanity on which the market cannot make any claims. Next, we could perhaps write this addendum to the avant-garde's demand: integrate art into the practice of life. , and make visible what is absent in both .