In part 2 with Fernando Domínguez Rubio, a professor of communications at UCSD and author of Still Life: Ecologies of the Modern Imagination at the Art Museum, he talks about: The astonishing resources that go into some museum artworks, starting with David Lamelas’s conceptual installation “Office,” which MoMA bought and decided to reproduce, but were reproducing an installation that no longer existed, and yet they did everything they could to be true to the original piece, based only off photographs; the ‘modern aesthetic regime of art,’ and how art that once rebelled against museums and museum inclusion – was anti-institution – is now embracing as many angles of commodification as it (via the artist) can; the savvy machinations of the artist Tino Seghal; and, as part of our discussion of art words and conservation-based artist interviews, we play out a MoMA interview with the artist James Rosenquist, which raises one of Rubio’s big questions: “what is a museum-- is it not a necessary absurdity?”