{"id":116897,"date":"2017-10-20T11:00:28","date_gmt":"2017-10-20T15:00:28","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=116897"},"modified":"2017-10-20T11:24:11","modified_gmt":"2017-10-20T15:24:11","slug":"pariss-racy-public-art-exposes-citys-invisible-borders","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/","title":{"rendered":"Racy Public Art Exposes Paris\u2019s Invisible Borders"},"content":{"rendered":"
\"\"<\/a>

Joep van Lieshout at the unveiling of Domesticator <\/em> at the Centre Pompidou. Photo: Jean-Pierre Vaillancourt for Carpenters Workshop Gallery<\/p><\/div>\n

 <\/p>\n

This week, after a social-media barrage declared it obscene, officials refused to install a sculpture called Domestikator<\/em> in the Tuileries Gardens near the Louvre. The same piece was then accepted by, and set up outside, the Pompidou, a contemporary-art museum less than a mile down the road.<\/p>\n

The piece in question, by the Dutch artist Joep van Lieshout, is of a forty-foot-tall humanoid apparently copulating with a four-legged creature. A staircase leading to a doorway in the humanoid\u2019s hip invites the public inside.<\/p>\n

The piece is apparently intended to pay tribute to \u201cthe ingenuity, the creativity, the sophistication, and the persistence of humans to change the world into a better place.\u201d But what interested me was why the artwork had been deemed appropriate for one part of the city and not another.<\/p>\n

<\/p>\n

When people talk about Paris as \u201ca great walking city,\u201d they are referring not only to its beauty but to the thrilling proximity of its diverse neighborhoods. Just last weekend, in celebration of this unseasonably warm October, I wandered from my apartment in the rapidly gentrifying ex-abattoir district of the nineteenth arrondissement, through the African immigrant quarter known as the Goutte d\u2019Or, down the film set Frenchness of the rue des Martyrs, past the tourist-infested Opera, and then window-shopped at the hyperluxury boutiques of rue Saint-Honor\u00e9. Though the whole walk took barely more than an hour, I traversed so many barriers of class and culture that there are whole countries one could cross\u00a0and not see more.<\/p>\n

These barriers are unofficial yet strongly defined: there are never groups of track-suited North African men hanging out on the snooty street corners of rue Saint-Honor\u00e9, no middle-aged executives in the hawker\u2019s crush outside Metro Barb\u00e9s, no tourists in the nineteenth.<\/p>\n

This week, there were the obvious aesthetic-conservative arguments that Domestikator<\/em>\u00a0would have proved an unsightly blot amid the sedate Renaissance stylings of the Tuileries. But that would hold true for much of contemporary public art, and it is not something that the Louvre has been afraid of in the past.<\/p>\n

What interested me was the idea that certain parts of Paris might be permitted to be more offensive than others: the invisible barriers traversed on my walk didn\u2019t only demarcate classes and cultures but also came with implicit ratings of, for want of a better phrase, parental guidance.<\/p>\n

From the Domestikator<\/em> controversy, we can infer that the Louvre and its immediate surroundings carry a General Audiences certificate: the area is suitable for families, school trips, and wealthy, older, conservatives. Meanwhile, the Marais neighbourhood, where the Pompidou is located, though only a twenty-minute walk away, is, through its association with contemporary art, fashion, and Paris\u2019s gay culture clearly more of a PG-13. Its civic art has a licence to be more risqu\u00e9, and to include, for example, an oversized depiction of bestiality.<\/p>\n

This idea can be dialed out to other cities, as well. Would Domestikator<\/em> be welcome in Manhattan\u2019s Chelsea, for example? How about the Upper East Side? Would London tolerate it on the fourth plinth of Trafalgar Square, or would it be banished further out, to Hoxton or Bethnal Green? Of course, there are also cities that brandish a near citywide guidance certificate: in Berlin, for example, I imagine Domestikator<\/em> could be placed almost anywhere; in Dubayy, it would barely make it to the proposal stage.<\/p>\n

Running against the grain of this guidance system can garner certain pieces of civic-art outsized attention. In 2014 , in Paris, Paul McCarthy\u2019s Tree<\/em>, a sculpture resembling a giant green butt plug, was installed in front of the Ritz Hotel. The piece was subject to a massive right-wing backlash, vandalized by protesters, and the artist was accused of \u201chumiliating\u201d the city. But put that exact same sculpture in a less conservative district, and it likely would not have raised more than a few eyebrows.<\/p>\n

The question becomes, then, whether by relegating Domestikator<\/em> to a neighborhood whose rating is already PG-13 has stripped it of some of its purpose: to shock.<\/p>\n

Domestikator<\/em> was unveiled on Wednesday, and yesterday I cycled over to pay it a visit. The stature was tucked by the Pompidou\u2019s southwest corner, its red, geometric design seemed almost camouflage against the building\u2019s postmodern facade. It would have been more exciting in front of the Louvre. But I was still in Paris and the great thing about the invisible barriers in a small city is how easy they are to cross. I got back on my bicycle and headed west, towards the Tuileries, the\u00a0Domestikator<\/em> still on my mind.<\/p>\n

 <\/p>\n

Chris Newens is a writer living in Paris.\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

  This week, after a social-media barrage declared it obscene, officials refused to install a sculpture called Domestikator in the Tuileries Gardens near the Louvre. The same piece was then accepted by, and set up outside, the Pompidou, a contemporary-art museum less than a mile down the road. The piece in question, by the Dutch […]<\/p>\n","protected":false},"author":1286,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[47],"tags":[31163,31165,31164],"class_list":["post-116897","post","type-post","status-publish","format-standard","hentry","category-department-of-sex-ed","tag-domestikator","tag-joep-van-lieshout","tag-paul-mccarthy"],"acf":[],"yoast_head":"\nRacy Public Art Exposes Paris\u2019s Invisible Borders<\/title>\n<meta name=\"description\" content=\"If the Tuileries is too PG for bestiality, what does that make the Marais?\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Racy Public Art Exposes Paris\u2019s Invisible Borders by Chris Newens\" \/>\n<meta property=\"og:description\" content=\"October 20, 2017 \u2013   This week, after a social-media barrage declared it obscene, officials refused to install a sculpture called Domestikator in the Tuileries Gardens\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2017-10-20T15:00:28+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-10-20T15:24:11+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/joep_van_lieshout_domestikator-1024x738.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"738\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Chris Newens\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Chris Newens\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/\"},\"author\":{\"name\":\"Chris Newens\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/2933f26828265a93f2d1dd60714ab33e\"},\"headline\":\"Racy Public Art Exposes Paris\u2019s Invisible Borders\",\"datePublished\":\"2017-10-20T15:00:28+00:00\",\"dateModified\":\"2017-10-20T15:24:11+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/\"},\"wordCount\":808,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/joep_van_lieshout_domestikator-1024x738-1024x738.jpg\",\"keywords\":[\"Domestikator\",\"Joep van Lieshout\",\"Paul McCarthy\"],\"articleSection\":[\"Department of Sex Ed\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/\",\"name\":\"Racy Public Art Exposes Paris\u2019s Invisible Borders\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/joep_van_lieshout_domestikator-1024x738-1024x738.jpg\",\"datePublished\":\"2017-10-20T15:00:28+00:00\",\"dateModified\":\"2017-10-20T15:24:11+00:00\",\"description\":\"If the Tuileries is too PG for bestiality, what does that make the Marais?\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/joep_van_lieshout_domestikator-1024x738.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/joep_van_lieshout_domestikator-1024x738.jpg\",\"width\":1024,\"height\":738,\"caption\":\"Joep Van Lieshout at the unveiling of Domesticator at the Centre Pompidou. Photo: Jean-Pierre Vaillancourt for Carpenters Workshop Gallery.\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Racy Public Art Exposes Paris\u2019s Invisible Borders\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/2933f26828265a93f2d1dd60714ab33e\",\"name\":\"Chris Newens\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/ff6650200aa674e24dfe35f9d5c4bbe155841905c0778bfede56ddad368aa1d4?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/ff6650200aa674e24dfe35f9d5c4bbe155841905c0778bfede56ddad368aa1d4?s=96&d=mm&r=g\",\"caption\":\"Chris Newens\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/cnewens\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Racy Public Art Exposes Paris\u2019s Invisible Borders","description":"If the Tuileries is too PG for bestiality, what does that make the Marais?","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/","og_locale":"en_US","og_type":"article","og_title":"Racy Public Art Exposes Paris\u2019s Invisible Borders by Chris Newens","og_description":"October 20, 2017 \u2013   This week, after a social-media barrage declared it obscene, officials refused to install a sculpture called Domestikator in the Tuileries Gardens","og_url":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2017-10-20T15:00:28+00:00","article_modified_time":"2017-10-20T15:24:11+00:00","og_image":[{"width":1024,"height":738,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/joep_van_lieshout_domestikator-1024x738.jpg","type":"image\/jpeg"}],"author":"Chris Newens","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Chris Newens","Est. reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/"},"author":{"name":"Chris Newens","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/2933f26828265a93f2d1dd60714ab33e"},"headline":"Racy Public Art Exposes Paris\u2019s Invisible Borders","datePublished":"2017-10-20T15:00:28+00:00","dateModified":"2017-10-20T15:24:11+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/"},"wordCount":808,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/joep_van_lieshout_domestikator-1024x738-1024x738.jpg","keywords":["Domestikator","Joep van Lieshout","Paul McCarthy"],"articleSection":["Department of Sex Ed"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/","url":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/","name":"Racy Public Art Exposes Paris\u2019s Invisible Borders","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/joep_van_lieshout_domestikator-1024x738-1024x738.jpg","datePublished":"2017-10-20T15:00:28+00:00","dateModified":"2017-10-20T15:24:11+00:00","description":"If the Tuileries is too PG for bestiality, what does that make the Marais?","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/joep_van_lieshout_domestikator-1024x738.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/joep_van_lieshout_domestikator-1024x738.jpg","width":1024,"height":738,"caption":"Joep Van Lieshout at the unveiling of Domesticator at the Centre Pompidou. Photo: Jean-Pierre Vaillancourt for Carpenters Workshop Gallery."},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/pariss-racy-public-art-exposes-citys-invisible-borders\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Racy Public Art Exposes Paris\u2019s Invisible Borders"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/2933f26828265a93f2d1dd60714ab33e","name":"Chris Newens","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/ff6650200aa674e24dfe35f9d5c4bbe155841905c0778bfede56ddad368aa1d4?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/ff6650200aa674e24dfe35f9d5c4bbe155841905c0778bfede56ddad368aa1d4?s=96&d=mm&r=g","caption":"Chris Newens"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/cnewens\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/116897","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/1286"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=116897"}],"version-history":[{"count":8,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/116897\/revisions"}],"predecessor-version":[{"id":116925,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/116897\/revisions\/116925"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=116897"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=116897"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=116897"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}