We take from the art of the past what we need. The variable posthumous reputations of even the greatest artists and the unpredictable revivals of interest in even the most obscure ones tend to reveal more about those who make revisionist assessments than about those who are being reassessed. This is especially true in the building art, which, with its large social and political content, is subject to rapidly changing fashions seemingly at odds with the slow execution of architecture, the immobility of its artifacts, and the long duration of its presence on the landscape...
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