In 1970, curator Jack Burnham debuted the lavish exhibition Software at the Jewish Museum in New York. Conceptual artists displayed information-oriented pieces, while technical experts deployed computers, image-making, and multimedia technology in their works. Burnham's goal was to showcase contemporary techniques of computer-based command and control, allowing viewers to respond in real time to the "programmatic situations" artists presented. While critics dismissed Software as a technical and aesthetic disaster, today it stands as a touchstone for efforts to integrate technology with artmaking. This article takes us back to Software's gallery spaces and Burnham's aim of showcasing the potential of interactivity and "real-time systems." More broadly, it situates Software as a provocation to a public unfamiliar with computer technology yet at the threshold of a new postindustrial era, where the power and performative aspects of computing would predominate.
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