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This article argues that an engagement with the powerful critical insights of Žižek's theory of ideology and practice of cultural critique is a necessary step for any art historical methodology which aims to fully account for a work of art's function within the society of its creation and reception, and to explain how it came to play such a role. However, any attempt to situate cultural artefacts within historically contingent networks of social relations requires an account of historicalfatcat:zytzhyj3hzbv3f2s4cyx2srsau