Throughout the 1960s several strains of conceptual art and the counterculture converged in an international mail art scene. Participants developed elaborate personas, complete with name games and eccentric iconography, and traded collages as well as information on their artistic projects, political protests, and experiments in alternative living. Collectives proliferated. These exchanges formed a genuinely parallel art world with its own rules, pitched against the system of commercial galleries and museums. Out of this firmament Slobodan Saia-Levi, Ronald Gabe, and Michael Tims met in Toronto in 1969 and changed their names to Jorge Zontal, Felix Partz, and AA Bronson respectively. Living together in a house that was almost a commune, they began involving one another and a large group of collaborators in various art projects, adopting the name General Idea in 1970.

There's something about video art that calls for grand theories and epic summations, wild pronouncements and heroic declarations. It’s exciting to see a new technology appear in one’s lifetime and to feel some kind of ownership over it, to see it for what it is or, even more importantly, what it did—how it cut through the world. While the earliest video artists, people like Frank Gillette and Ira Schneider, opened their work to network TV, Dara Birnbaum “talked back to the media” by launching a systematic inquiry into its parts and clichés, creating compendiums of reverse shots, two-shots, and special effects. Martha Rosler did something similar in her ersatz home-cooking demonstration Semiotics of the Kitchen in 1975, while the Canadian collective General Idea built on these investigations of media codes in their half-hour talk shows, such as Pilot, 1977, and Test Tube, 1979, which might have aired during prime time if they hadn’t been telling the media to “shut the fuck up.”

General Idea has always caused dissent. From performance works involving faux shops and beauty pageants to provocative photography, and immersive installations that riff on the works of other artists, their oeuvre is multidisciplinary and irreverent. This month, a retrospective at the Stedelijk Museum in Amsterdam recontextualizes the group, bringing together works from across their 25 years of practice. Why do this retrospective in 2023? “Because I might be dead next year,” said AA Bronson, chuckling, in a recent interview with Artsy. At 77, the sole surviving member of General Idea has been tasked with speaking for all three of the group’s members since 1994, when Felix Partz and Jorge Zontal both died from AIDS-related illnesses. The group met in Toronto, where they created satirical performances and the inside joke–laden, manifesto-meets-mail-art phenomenon FILEmegazine (a play on Life magazine). They later moved to New York, where they produced the “AIDS” works, initiated before Partz and Zontal received their diagnoses.

The British art information website ArtLyst has named Toronto-based artist AA Bronson to its 'Alt Power 100' list for 2022. The annual compilation acknowledges artists and curators from around the world who work to "enrich our communities." Bronson was a member of General Idea, an artist collective that also included Felix Partz and Jorge Zontal. They produced over 100 solo exhibitions, countless group shows and public art projects focused on themes related to queer theory and AIDS activism, amongst others. ArtLyst cited the retrospective last year at the National Gallery of Canada for General Idea, active from 1969 until 1994, when both Partz and Zontal died of AIDS. The exhibition, which Bronson played a key role in organizing, explored the group’s 25-year history as it evolved from humble beginnings producing videos, photos, posters and mail art to its later days of tackling the AIDS crisis through paintings, sculptures and installations.

Curated with sensitivity and wit by Adam Welch, this comprehensive survey of General Idea, the largest to date, began in an unexpectedly understated way: Visitors traversed a small octagonal space, whose walls were adorned with a faint pattern in green, orange, and white. It took the viewer a moment of repose to find the titular acronym repeated throughout White AIDS Wallpaper, 1991—its ironic design based on Robert Indiana’s LOVE insignia—and, in the process, (re)consider how that disease affected the many communities and publics in which the collective operated, sometimes through subtle infiltration rather than splashy provocation. Rightly refusing to give in to sentimental memorializing, the exhibition treated the illness—which claimed two of the group’s three members, Felix Partz (1945–1994) and Jorge Zontal (1944–1994)—as a thing meant to be sliced and diced by the Cuisinart of their imagination, turning the word into a specious brand logo, a punching bag, and a semiotic treasure trove.

From provocative video installations to engaging virtual-reality exhibits, Kate Taylor takes the pulse of the visual-arts scene across the country. Best Retrospective: General Idea at the National Gallery of Canada in Ottawa. Revisiting the career of General Idea, that cheeky trio of the 1980s and early 90s, proved to be the year’s most refreshing experience. In an era where the visual arts are filled with earnest sermons, GI’s work about the AIDS crisis reminded viewers that AA Bronson, Felix Partz and Jorge Zontal kept their satirical edge to the bitter end. Meanwhile, their earlier assaults on art world celebrity proved as pertinent as ever.

Two hundred and fifty charming, campy yet serious drawings are on view in “Ecce Homo,” a focussed retrospective devoted to this three-person collective, formed by the artists AA Bronson, Felix Partz, and Jorge Zontal, in Toronto, in 1969. (The trio moved to New York City in 1985, where most of these pieces were made.) All the drawings were made by the quick, fluid lines of Zontal’s hand, but they are signed with the initials “GI,” for General Idea, because they resulted from a group process and reflected a common lexicon. Recurring images—poodles, magic mountains, amoebas—are rendered in graphite, watercolor, and gouache. Some display a gestural, cartoony economy; others are constructed from doodlelike scrolls and frenetic crosshatching. The show has a deceptively playful air: the spectre of the AIDS epidemic is ever present. (Both Partz and Zontal died of H.I.V.-related causes, in 1994.) A wall of cockroach drawings, in which the insects seem to crawl over speckled abstractions, had a special significance for Zontal: they represented the floaters that impaired his vision as he went blind. Intimate and born of a daily practice, the material in “Ecce Homo” is a profound counterpart to the trio’s better-known works, notably their activist update of Robert Indiana’s iconic red, green, and blue “LOVE” statue, reimagined to read “AIDS.”

“I’m finding it difficult to be 76 and busy,” says the artist AA Bronson from his Berlin studio, where he also lives. “The two don’t really go together.” Though he’s not currently focused on producing new works, Bronson, who has devoted his career to pushing against negative queer representation through the production of confrontational, easily reproducible art, has been spending much of his time planning international exhibitions of his unapologetically political oeuvre. General Idea, the collective he formed with his late life partners Felix Partz and Jorge Zontal — together, the three Canadians were responsible for some of the most striking AIDS-related compositions of the late 1980s and the 1990s — is currently the subject of its biggest retrospective to date, at the National Gallery of Canada in Ottawa.

If variety is the spice of life, the world’s museums are perfectly seasoning things this fall with an expansive range of exhibitions from LGBTQ artists, exploring myriad motifs like queer motherhood, Afrofuturism, positive indecency, disposable consumerism and gay history. From Miami to Melbourne and from Houston to Helsinki, here are the exhibitions to catch this fall. Canadian trio Felix Partz, Jorge Zontal and AA Bronson, collectively known as General Idea, were witty and wacky provocateurs who challenged the established art world and addressed themes like consumerism, queer identity and the AIDS crisis (complications from the disease took both Partz and Zontal in 1994). This most comprehensive retrospective of their still-influential 25-year career features more than 200 works.

Throughout the pandemic years, Queer art has become a lifeline for the Queer community. In my opinion, one of the best examples of Canadian Queer art is the General Idea AIDS exhibit currently on display at the National Gallery of Canada. It takes the dark and deadly history of the HIV epidemic and turns it colourful. It’s a breath of life that tells the story of the victims of the HIV plague. General Idea was made up of Felix Partz, Jorge Zontal, and AA Bronson. These three Canadian artists invoked change worldwide by challenging controversial queer ideals from 1969-1994. Important themes included throughout the exhibit are corporate greed, discrimination, and androgyny. “The Great Polystyrene Cold,” “Miss General Idea,” and “Pharmaecology” are the three pieces that stood out for me regarding these themes. These pieces encompass androgynous themes, which is essential when discussing a multi-faceted issue like HIV.

The Drawing Center, in partnership with Musée d’art moderne et contemporain Geneva (MAMCO), will bring together the drawings of General Idea authored between 1985 and 1993 for the first time in the United States, and again in Geneva in February 2023. Investigating motifs in the group’s multimedia works such as poodles, stiletto heels, masks, heraldry, and metamorphosed genitalia, these drawings were primarily produced by Jorge Zontal during group meetings. However, given General Idea’s mandate for co-authorship, as well as the circumstances under which they were executed, the drawings are considered to be collaborative. Although they are done entirely by hand, the repetition of specific motifs follows a viral logic that is akin to General Idea’s own penchant for mass reproduction. Seen together, these drawings are a fascinating window into General Idea’s distinct artistic vision as well as their unique notions of collaboration and co-authorship.

It has been more than half a century since General Idea – the irreverent collective consisting of Jorge Zontal, Felix Partz and A.A. Bronson – came onto the art world stage in 1969 with their zany, pop-inflected socio-political critique and tongue-in-cheek antics. Organized in collaboration with Bronson (General Idea’s sole surviving member) some 28 years after they were last active, the National Gallery’s retrospective – and its hefty accompanying catalogue – encapsulate a quarter century of the collective’s influential practice as post-modern pioneers whose work integrated high-minded conceptualism with mass culture and new media.

To understand the real beauty of New York, look no further than its inclusiveness. There is something for everyone in this great metropolis. My suggestion is to go out and see it all! This guide is focused on the art institutions that help make this city great, and it highlights the breadth of venues throughout the boroughs, as well as a few beyond in the Greater New York region for those adventurous enough to go on a day trip. Art in New York is truly unlike anything else in the world. Founded in Toronto in the late 1960s by AA Bronson, Felix Partz, and Jorge Zontal, General Idea was a collective guided by a radical queer politics and a performative orientation. Drawings executed in the spirit of mass reproduction between 1985 and 1993 spotlight motifs like poodles, stilettos, and masks.

It has been more than half a century since General Idea – the irreverent collective consisting of Jorge Zontal, Felix Partz and A.A. Bronson – came onto the art world stage in 1969 with their zany, pop-inflected socio-political critique and tongue-in-cheek antics. Organized in collaboration with Bronson (General Idea’s sole surviving member) some 28 years after they were last active, the National Gallery’s retrospective – and its hefty accompanying catalogue – encapsulate a quarter century of the collective’s influential practice as post-modern pioneers whose work integrated high-minded conceptualism with mass culture and new media.

When General Idea first started making art in the 1960s, the older generation was already getting its share of shock from the sex, drugs, and rock and roll that defined the era. But nothing could prepare them for what was coming courtesy of artists AA Bronson, Felix Partz, and Jorge Zontal. In a first, the National Gallery of Canada is acknowledging the group (don’t call them a “collective,” Bronson, the only surviving member, said) with a massive survey of their work from its very beginnings. After its run in Ottawa, the show is set to head to the Stedelijk Museum in Amsterdam. What started as an experiment grew into a powerful force in the Canadian contemporary art milieu. Up to that point, no one talked much about non-normative sexual and gender identity. General Idea wanted to talk—and so they did, starting a conversation that might not otherwise have happened in polite, middle-class society.

General Idea was a collective of three Canadian artists — AA Bronson, Felix Partz and Jorge Zontal — that formed in 1969. The trio was anti-establishment, queer and punk. Most importantly, they made art with a wink and a smile, becoming known for cheeky projects like staging a beauty pageant for artists and sending strangers mail with intimate questions. General Idea proved that art could be provocative and fun while still tackling issues that matter, like the AIDS crisis, which had a huge influence on their work. Sadly, AIDS led to the deaths of two of the group's members. Bronson is the sole surviving member of General Idea. He joined Q's Tom Power from his home in Berlin to discuss the National Gallery of Canada's massive new retrospective celebrating the group. Follow along with the conversation using this visual companion guide.

General Idea, an art group that pioneered a queer aesthetic, is celebrated in a retrospective at the National Gallery of Canada (opened during Pride Month and running until 20 November 2022). Surviving member AA Bronson speaks about their origins, and impact on art and social justice.

Formed as part of the 1960s Toronto counterculture, General Idea was a radical artist-led group founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945–1994) and Jorge Zontal (1944–1994). Together they invented a ground-breaking and provocative multi-disciplinary practice that challenged social and artistic norms and altered the development of postwar art over 25 years – from the group’s formation in 1969 to the deaths in 1994 of both Partz and Zontal from AIDS-related illnesses. This major retrospective of General Idea will bring together more than 200 works, including installations, paintings, drawings, videos, sculptures, publications and archival material, to explore the crucial role General Idea played in developing art and activism in Canada, the United States and Europe. The exhibition will also chart General Idea’s influence on future generations of creators, informing new ways of reimagining and changing our world through art.

The Canadian artist AA Bronson was one of founding members of the art collective General Idea along with Felix Partz and Jorge Zontal. The artists lived and worked together for twenty-five years, exploring themes ranging from mass media and popular culture to queer identity and the AIDS epidemic. Since the death of Partz and Zontal in 1994 from AIDS, Bronson has become increasingly interested in the practice of healing and often incorporates healing processes into his artworks, focusing on specific historical and contemporary traumas. The work of General Idea is the subject of a retrospective at the National Gallery of Canada, Ottawa, from 3 June to 20 November. 

The eclectic Canadian trio General Idea, who attained international acclaim during their 25 years of practice (1969-94), are about to hit the heights again as the subject of a blockbuster exhibition at the National Gallery of Canada in Ottawa. The show, opening this week, will feature around 200 works, including major installations, publications, videos, drawings, paintings and sculptures. Although the exhibition’s curator Adam Welch admitted surprise that such a retrospective had not come until now at the National Gallery (Toronto’s Art Gallery of Ontario did stage one a decade ago), the group has hardly gone unnoticed in the Ottawa-based museum. As Welch told The Art Newspaper: “We have outstanding works in the collection and this exhibition has allowed us to delve much more deeply into those holdings, and, of course, to engage in close research with AA Bronson.”

In our current state of ever-evolving social and ecological catastrophe, we find ourselves needing not just inspiration, but examples of best practice – and the septuagenarian performer, installation artist, healer, zine publisher and activist AA Bronson weighs in on both counts. As one of the founding members of the art collective General Idea, Bronson was an important early responder to the HIV/AIDS epidemic. Then, following the deaths from AIDS in 1994 of his life partners and General Idea co-members, Felix Partz and Jorge Zontal, he has had to find ways of making work that make sense within the context of ongoing and devastating grief.  

On September 20th at Art Basel Unlimited, Mitchell-Innes & Nash (New York), Mai 36 Galerie (Zurich), Maureen Paley (London) and Esther Schipper (Berlin) will jointly present AIDS Cross (1991/2021), the most recent of General Idea’s history of AIDS works in various media. All four galleries will additionally present works by General Idea in their respective fair booths, alongside a suite of works by their other represented artist.

AA Bronson: We moved here eight years ago, on Valentine's Day 2013. I was invited to participate in something called the DAAD Artists-in-Berlin Program (German: Berliner Künstlerprogramm des DAAD), which is a fellowship program by which they invite artists to come and live and work in Berlin for a year. They give you a studio and allow you to bring your family, whoever that might be. It's an amazing program.

After more than a year without art fairs, Frieze New York is back. But this highly anticipated pandemic-era edition looked a little different. Rather than setting up shop in the usual sprawling tent on Randall’s Island, some 60 international galleries occupied the Shed, the multidisciplinary performing arts space in Hudson Yards on Manhattan’s West Side.

Founded in 1969 by the artists AA Bronson, Felix Partz and Jorge Zontal, the collective General Idea made heady but playful work that dealt with sex, art, money, and the AIDS crisis. This solo presentation offers a scattershot but substantive introduction to the group’s oeuvre. Their signature poodles appear both in cheerfully self-aware drawings with mounds of pasta-like curls and on canvas in a discreet ménage-à-trois.

The cross-Atlantic partnership between New York’s Mitchell-Innes & Nash and Berlin’s Esther Schipper has resulted in an excellent booth devoted to the output of 
General Idea, the collective formed in 1969 by AA Bronson, Felix Partz, and Jorge Zontal. The presentation features some of their most distinctive works, like their paintings and drawings of frollicking, frilly poodles (priced between $15,000 and $168,000), and their darkly comic 1992 group self-portrait Playing Doctor (priced at $150,000). The work was created at the height of the AIDS crisis that would ultimately claim Partz’s and Zontal’s lives. The booth’s centerpiece is the set of nine abstract panels El Dorado Series (1992), an abstracted interpretation of 18th-century Spanish caste paintings that sought to establish a hierarchy among ethnic groups in South America.

Thomas J. Lax: AA, Thank you for speaking with Christophe and me. Can you tell us where you are—and, perhaps a more complex question—how are you?

AA Bronson: Greetings, always a pleasure! I am in Berlin, with my husband Mark, in our rambling Berlin apartment on Fasanenstrasse—before the Wall came down, and even before that, this was the heart of Berlin’s art and culture world, but now it is pleasantly old-fashioned, with gas street-lamps, small auction houses and galleries, spreading chestnut trees, and a generous population of Russian expats. And despite the pandemic and the almost constant lockdown, we are okay here. To be truthful, my life—as an old man—has not changed that much. Except that my occasional forays into Berlin nightlife regretfully have come to an end.

Much of our current global situation feels unprecedented. However, COVID-19 is not the first disease to send shockwaves through our communities. The AIDS epidemic of the ‘80s and ‘90s, like COVID-19, hit indiscriminately but affected vulnerable members of society the hardest. At the time, amidst an inadequate public response largely rooted in homophobia, many artists felt compelled to create work aimed at raising critical awareness about the crisis. With AIDS (Installation), General Idea did this with a resounding impact, which continues to echo today.   

This 1988 installation by the artist collective General Idea, founded in 1969 by A.A. Bronson (pictured), Felix Partz and Jorge Zontal, serves up a critique of the rising influence of mass media on culture on a set of 144 porcelain sushi plates. The colour bars printed on the plates are based on the trademarked test pattern found on television screens.

At first glance, the placid seascape might blend in with the paintings around it, were it not for the tarlike substance clinging to the panel. The neon sculpture could be mistaken for a similar piece just down the road at the Philadelphia Museum of Art.

And it’s hard to look at General Idea’s “Great AIDS (Ultramarine Blue)” stretching 10 feet across a gallery wall without seeing the resemblance to Robert Indiana’s “Love” a block away (sans photo-snapping tourists).

There are few artists I have more reverence for than AA Bronson. In 1969, with fellow artists Felix Partz and Jorge Zontal, Bronson co-founded General Idea, the legendary Toronto-based art collective that helped pioneer Relational and Mail Art. Over the course of their decades-long collaboration, General Idea’s multidisciplinary conceptual practice helped establish bold new directions for art in Canada and abroad.

This show introduces viewers to the group's less well-known paintings: hard-edged, fluorescent geometric abstractions that evoke the pixelated silhouettes of eight-bit video games. They also allude to the mystical and political significance of stepped architecture in ancient societies, from Mesopotamia to the Mayans, where such structures were thought to lead to the gods. Exhibited alongside the paintings are plans for the "The 1984 Miss General Idea Pavilion," an absurdist beauty-pageant venue that, per the artists' lore, had burned to the ground, leaving only the footprint of the ziggurat. 

The real surprise of the show is a series of paintings in the main gallery. Covered in allover patterns of interlocking ziggurats, two rectangular compositions from 1968–69 neatly combine stain painting with systemic minimalism. Nearly textbook examples of avant-garde abstract painting concerns of their day, these canvases split the difference between seriousness and burlesque.

Canadian art collective General Idea (1969–1994), made up of Felix Partz, Jorge Zontal, and AA Bronson, gets its first solo show at Mitchell-Innes & Nash. The exhibition highlights their use of the ziggurat motif, an architectural form common to both the ancient civilizations of Mesopotamia and Mesoamerica and to modern skyscrapers.

Formed in Toronto in 1969 by AA Bronson, Felix Partz and Jorge Zontal, the artist collective General Idea built its body of work on a strikingly diverse array of themes, constantly revisiting both the field of contemporary art production and the identity politics of the era that ultimately underscores so much of the artist’s act of world-making, critique and expression.  No subject was safe from their intuitive and enigmatic lens, from the myth of the artist, the role of mass media, and the relationship between the body and identity, to questions of gender and sexual representation, and perhaps most famously, the HIV/AIDS activism of the 1980’s, a mode of critique that the group were pioneers of during an era of intense repression and governmental silence.  Working in a broad range of practices, from paintings to performances, published editions to video, sculpture to installation, the group was almost constantly in a state of reinvention, speaking to the diversity and power of their collective vision.

The Estate of General Idea (1969-1994) had their first exhibition with the Mitchell-Innes & Nash Gallery on view in Chelsea through January 13, featuring several “ziggurat” paintings from the late 1960s, alongside works on paper, photographs and ephemera that highlight the central importance of the ziggurat form in the rich practice of General Idea.

 The importance of the ziggurat to General Idea’s practice cannot be understated. It is a central and repeated symbol in General Idea’s vocabulary, appearing (either implicitly or explicitly) in paintings, drawings, performances, photographs, sculptures, prints, videos and costumes spanning the group’s existence. An ancient Mesopotamian architectural structure of steps leading up to a temple, the ziggurat symbolizes as a link between humans and the gods. The symbol can be found in cultures ranging from Mesopotamia to the Aztec to Navajo Nation. General Idea appropriates this symbol of power and theism, utilizing the form as a framing device to examine questions of branding, architecture and spatial politics. 

Known for their unique approach to things and their meaning, General Idea appropriated the ziggurat as the icon of power and theism, utilizing its form as a framing device to examine questions of architecture, branding and spatial politics.

For them, the ziggurat stands, among other things, as an architectural device which communicates fame, money, success. The first series of Ziggurat paintings were created in 1968-69 by Felix Partz, but the group didn’t return to them until 1986, completing the sketches from the previous period that were never completed.

The exhibition will be accompanied by a fully illustrated catalog with an interview between AA Bronson and Hans Ulrich Obrist. Formed in Toronto in 1969 by AA Bronson, Felix Partz and Jorge Zontal, General Idea is recognized internationally for work that concerns subjects as the myth of the artist, the relationship between the body and identity, the role of mass media, issues of gender and sexual representation, and famously HIV/AIDS activism at a time when even talking about it was a taboo.

This summer and autumn, General Idea has posthumous exhibitions at MAMCO, Geneva’s museum of contemporary art, and Mitchell-Innes & Nash in New York. Next spring, Esther Schipper and KW Institute for Contemporary Art in Berlin will showcase works by Bronson and his collective, as well those created under his pseudonym ‘JX Williams’. Outside of the gallery and institutional sphere, Bronson is compiling the group’s catalogue raisonné with Fern Bayer and developing a performance project at the Siksika Nation Aboriginal reserve in Canada.

We’re pretty excited about this one, as it’s General Idea’s first solo show in New York City since an exhibition at MoMA in 1996. Founded by AA Bronson, Felix Partz, and Jorge Zontal in Toronto in 1969, the collective has consistently tackled taboo subjects, especially pertaining to sexuality. This exhibition will focus on the group’s tamer but still visually grabbing Ziggurat Paintings, which were made between 1968–86 and play with the ancient Mesopotamian form.

Stemming from the group’s archives, the exhibition at MAMCO, conceived in close collaboration with AA Bronson, tackles the first ten years of their career under the specific angle of photography. The aesthetics of these early works borrows from Minimal, Conceptual, as well as Land art, and the regulars from MAMCO will certainly find an echo to works from Dennis Oppenheim, Franz Erhard Walther, or even Victor Burgin. However these photographs are also documents from the group’s life within the context of communitarian utopias which left their mark on the 1960s in Northern America.

“They reinvented the idea of artist activism,” Lucy Mitchell-Inness, a co-owner of the gallery, told ARTnews. “They took on ideas—those often demonized or ignored—with a boldness that was unheard of at the time. [General Idea] came of age in a period that saw pivotal changes in queer conceptualism and postmodernism. They led the charge in decentralization and intervention within the institutional framework.”

Gay nightlife gave rise to the drag ball as an underground simulation of female celebrity. General Idea, the Toronto-based art collective, did something similar with its Miss General Idea pageant, though only one of the four winners of the annual event, held in Toronto from 1968 to 1971, was a man; the competition wasn’t about gender so much as it was about art as a system for producing value and fame. Playing on a monitor at the entrance to the retrospective exhibition “General Idea: Broken Time” at the Museo Jumex, Pilot (1977), which the group made for Ontario public television, is a thirty-minute deadpan documentary on the pageant that provides an introduction to the collective’s interests and sensibilities.

AT THE HEIGHT of the Reagan-era culture wars and the AIDS crisis—a moment that shaped today’s battles over social values, over what is normal and what is not—General Idea decided to fit in. The group explored assimilation and transgression, convention and critique, biopolitics and style. They inserted their quixotic brand of activism, agitprop, marketing, and performance, virus-like, into the mainstream, with results that were anything but. On the occasion of the retrospective “Broken Time,” which travels to the Museo de Arte Latinoamericano de Buenos Aires this month, critic Alex Kitnick takes a new look at General Idea—and their reimagining of what art and life could be.

The Canadian artist collective General Idea  found its drive in the AIDS epidemic, becoming aesthetically and conceptually refined in the in the 1970s and ’80s, after long forays into absurdity and performances evocative of Dada and Fluxus. A retrospective presented by the Jumex Museum elucidates the collective’s progression from troublemakers to activist artists calling attention to the epidemic, which ultimately claimed two of its three members and countless others in the queer creative community.

Miss General Idea, the fictional character created by the Canadian artist group General Idea, will make her Latin American debut at the Museo Jumex in Mexico City this month. She features prominently in the group’s 1970s works, which parodied the art world and mimicked popular culture by appropriating mainstream magazine formats and staging campy beauty pageants. 

General Idea’s now highly collectible magazine File dedicated its 1981 issue to the theme of success, with a contribution by Warhol and a dollar sign sculpture of their own contrivance on the cover. But by then General Idea had already experimented with new forms of retail like pop-ups and courted the international fashion set from their home base in Toronto for over a decade.