Banana artwork drama proves modern art is a C_A (money laundering) psyop.
First we were supposed to believe that a banana taped to a wall was a piece of art worth $120,000.
Now we are told a crowd of people were shocked to see a man eating a banana.
This is the state of modern art.
This is how you know modern art is a C_A psyop and largely used to launder money.
https://www.news.com.au/lifestyle/real-life/news-life/onlookers-shocked-as-performance-artists-eats-banana-at-centre-of-us-exhibition/news-story/ecdde97ea7d0d8d03decc44adef12b99
A 1995 article from The Independent sheds some light on how and why the C_A used modern artists in the cold war against the Russians (and, eventually, us).
Modern art was CIA 'weapon'
Revealed: how the spy agency used unwitting artists such as Pollock and de Kooning in a cultural Cold War
By Frances Stonor Saunders
Sunday 22 October 1995
For decades in art circles it was either a rumour or a joke, but now it is confirmed as a fact. The Central Intelligence Agency used American modern art - including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko - as a weapon in the Cold War. In the manner of a Renaissance prince - except that it acted secretly - the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.
The connection is improbable. This was a period, in the 1950s and 1960s, when the great majority of Americans disliked or even despised modern art - President Truman summed up the popular view when he said: "If that's art, then I'm a Hottentot." As for the artists themselves, many were ex- communists barely acceptable in the America of the McCarthyite era, and certainly not the sort of people normally likely to receive US government backing.
Why did the CIA support them? Because in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.
The existence of this policy, rumoured and disputed for many years, has now been confirmed for the first time by former CIA officials. Unknown to the artists, the new American art was secretly promoted under a policy known as the "long leash" - arrangements similar in some ways to the indirect CIA backing of the journal Encounter, edited by Stephen Spender.
https://www.independent.co.uk/news/world/modern-art-was-cia-weapon-1578808.html