Shock long ago went mainstream, raising a question: Can art still shock today? Nudity and raw language are no longer scandalous, and decades of Modernist assaults on formal constraints have dissolved the boundary between art and not-art, high and low. The outcry over “Lady Chatterley’s Lover” and “Tropic of Cancer” seems downright quaint at a moment when millions of suburban mothers are devouring the sadomasochistic fantasy “50 Shades of Grey.”
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