The Postsocialist Contemporary: The Institutionalization of Artistic Practice in Eastern Europe after 1989

(self-)administration” (p. 300). These contradictions, however, are not weaknesses but rather signs of fluid communicative processes. The contributions to this stimulating volume demonstrate the mechanisms with which mostly right-wing political actors reinterpreted 1989. It is to be hoped that the findings will be well received not only by academics, but also by politicians, and the media, because the consequences of homogenizing, nationalistic, and racist reinterpretations of 1989 will continue to preoccupy society for a long time to come.