{"id":76968,"date":"2014-09-18T21:00:56","date_gmt":"2014-09-19T01:00:56","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=76968"},"modified":"2014-09-19T07:54:33","modified_gmt":"2014-09-19T11:54:33","slug":"plumbing-the-depths","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/","title":{"rendered":"Plumbing the Depths"},"content":{"rendered":"

\"IMG_0962\"<\/a><\/p>\n

It was 1917 when Marcel Duchamp debuted Fountain<\/em>, that perennially scandalous urinal, that Dadaist taunt, that porcelain keystone. Since then, befuddled museumgoers worldwide have asked, \u201cHow is that art<\/em>?\u201d; about half a dozen performance artists have made a show of peeing on, in, or around one of the many replicas of Fountain<\/em>; and, at the Pompidou Center, one guy threw a hammer at it<\/a>. But now, in 2014, the artist Alexander Melamid has outdone them all: he\u2019s reconnected the urinal to plumbing. It flushes anew. And through its pipes, he hopes, will flow more than a century\u2019s worth of the art world\u2019s built-up shit.<\/p>\n

Melamid\u2019s new exhibition, \u201cThe Art of Plumbing,\u201d opened last night at Vohn Gallery. It comprises paintings of assorted plumbing components\u2014sometimes superimposed on canonical works by, say, Picasso or Rothko\u2014with names like Form-N-Fit 1-1\/2 Flanged Tailpiece<\/em>, Large Drain Cleansing Bladder<\/em>, and The No Clog Drain, Permaflow<\/em>. At its center, atop a kind of plinth, is a fully functional urinal, its working parts very much visible.<\/p>\n

\u201cModernism in art began in earnest with that urinal, severed from the sewage system. It was a truly revolutionary act,\u201d an accompanying statement read. And yet, as the twentieth century wore on, artists descended into meaningless self-referentiality and the pursuit of wealth, thus necessitating another revolution:<\/p>\n

\n

Having acquired the skills to wield both pipe and wrench, the artist Alex Melamid will successfully perform an aesthetic coupling that will flush the human as well as the elephant waste from our great museums. Once sent down the drain and into the sewage system, this effluvial excess will affront the senses of public no longer.<\/p>\n<\/blockquote>\n

<\/p>\n

\"IMG_0961\"<\/a><\/p>\n

If this \u201cfunctional and highly effective plumbing environment\u201d seems no more than an elaborate, obvious prank, rest assured that Melamid would agree. For years now, the sixty-nine-year-old, Russian-born artist has taken a boyish glee in playing the part of the gadfly. A recent piece in the Times<\/em><\/a> called him a provocateur, but that\u2019s too strong a word\u2014he\u2019s more an overgrown hellion, and I say that with admiration. His needling, jeering pieces are like spitballs flung from the back of the classroom: you really, really want to ignore them and the puerile kid behind them, but now a gob of his saliva is on the teacher\u2019s face, and it\u2019s pretty funny.<\/p>\n

\u201cThe Art of Plumbing\u201d is the latest in a series of projects he\u2019s launched through his Art Healing Ministry<\/a>, an LLC designed \u201cto channel the powers of art to alleviate major human physiological and psychological afflictions<\/a>,\u201d or, in other words, to goad his audience into seeing what a farce it is to claim that art is any kind of balm, that it serves any purpose. (See below for a helpful study conducted by the Ministry\u2014\u201cVARHEL, the Visual Art and Health Trial.\u201d)<\/p>\n

\"TPR18092014_00002\"<\/a>\u201cThe only philosophical idea that doesn\u2019t seem to exist nowadays is skepticism,\u201d he told me at his studio last month. \u201cI now believe that art is total bullshit and nonsense. It\u2019s one of the religious systems \u2026 what looks stupid and idiotic is most likely stupid and idiotic. We have to free ourselves from the chains of art. We\u2019re always told it\u2019s good for you. What\u2019s good about it?\u201d<\/p>\n

He told the Times <\/em>something similar:<\/p>\n

\n

Art is not only physical pollution, it\u2019s intellectual pollution. Spiritual pollution. I belong to the down-the-drain generation. We were promised salvation by art. I was a passionate believer, until I realized it was one of those allegiances, like spiritualism or theosophy. All of this kind of semi-religious teaching, like Mary Baker Eddy or Madame Blavatsky.<\/p>\n<\/blockquote>\n

These are hardly new ideas, but Melamid, with his impish grin, is fervent enough to make you believe that he really wouldn\u2019t care if every major museum in the world closed tomorrow. He speaks with the bemused outrage of a new atheist. To that end, there\u2019s something agreeably simple in his operative urinal, which makes its points as easily and flippantly as those parodies of the Jesus fish you see on the backs of people\u2019s cars. And to any artist who would accuse him of crassness and emptiness, he can say, My art removes human waste and conveys it to the sewage system of New York City. What does yours<\/em> do?<\/p>\n","protected":false},"excerpt":{"rendered":"

It was 1917 when Marcel Duchamp debuted Fountain, that perennially scandalous urinal, that Dadaist taunt, that porcelain keystone. Since then, befuddled museumgoers worldwide have asked, \u201cHow is that art?\u201d; about half a dozen performance artists have made a show of peeing on, in, or around one of the many replicas of Fountain; and, at the […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[15357,15360,696,4154,15152,15358,15359,15361],"class_list":["post-76968","post","type-post","status-publish","format-standard","hentry","category-look","tag-alexander-melamid","tag-fountain","tag-marcel-duchamp","tag-paintings","tag-plumbing","tag-the-art-healing-ministry","tag-urinals","tag-vohn-gallery"],"acf":[],"yoast_head":"\nAlexander Melamid\u2019s \u201cThe Art of Plumbing\u201d<\/title>\n<meta name=\"description\" content=\"Marcel Duchamp and the art of plumbing that followed.\" \/>\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\/2014\/09\/18\/plumbing-the-depths\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Plumbing the Depths by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"September 18, 2014 \u2013 It was 1917 when Marcel Duchamp debuted Fountain, that perennially scandalous urinal, that Dadaist taunt, that porcelain keystone. Since then, befuddled\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/\" \/>\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=\"2014-09-19T01:00:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-09-19T11:54:33+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/09\/img_0962.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2445\" \/>\n\t<meta property=\"og:image:height\" content=\"2546\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\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=\"Dan Piepenbring\" \/>\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\/2014\/09\/18\/plumbing-the-depths\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"Plumbing the Depths\",\"datePublished\":\"2014-09-19T01:00:56+00:00\",\"dateModified\":\"2014-09-19T11:54:33+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/\"},\"wordCount\":724,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/09\/img_0962.jpg\",\"keywords\":[\"Alexander Melamid\",\"Fountain\",\"Marcel Duchamp\",\"paintings\",\"plumbing\",\"the Art Healing Ministry\",\"urinals\",\"Vohn Gallery\"],\"articleSection\":[\"Look\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/\",\"name\":\"Alexander Melamid\u2019s \u201cThe Art of Plumbing\u201d\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/09\/img_0962.jpg\",\"datePublished\":\"2014-09-19T01:00:56+00:00\",\"dateModified\":\"2014-09-19T11:54:33+00:00\",\"description\":\"Marcel Duchamp and the art of plumbing that followed.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/09\/img_0962.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/09\/img_0962.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Plumbing the Depths\"}]},{\"@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\/6b16ca558fc538230f135c3220dfd3c8\",\"name\":\"Dan Piepenbring\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g\",\"caption\":\"Dan Piepenbring\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/dpiepenbring\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Alexander Melamid\u2019s \u201cThe Art of Plumbing\u201d","description":"Marcel Duchamp and the art of plumbing that followed.","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\/2014\/09\/18\/plumbing-the-depths\/","og_locale":"en_US","og_type":"article","og_title":"Plumbing the Depths by Dan Piepenbring","og_description":"September 18, 2014 \u2013 It was 1917 when Marcel Duchamp debuted Fountain, that perennially scandalous urinal, that Dadaist taunt, that porcelain keystone. Since then, befuddled","og_url":"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2014-09-19T01:00:56+00:00","article_modified_time":"2014-09-19T11:54:33+00:00","og_image":[{"width":2445,"height":2546,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/09\/img_0962.jpg","type":"image\/jpeg"}],"author":"Dan Piepenbring","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Dan Piepenbring","Est. reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/"},"author":{"name":"Dan Piepenbring","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8"},"headline":"Plumbing the Depths","datePublished":"2014-09-19T01:00:56+00:00","dateModified":"2014-09-19T11:54:33+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/"},"wordCount":724,"commentCount":0,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/09\/img_0962.jpg","keywords":["Alexander Melamid","Fountain","Marcel Duchamp","paintings","plumbing","the Art Healing Ministry","urinals","Vohn Gallery"],"articleSection":["Look"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/","url":"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/","name":"Alexander Melamid\u2019s \u201cThe Art of Plumbing\u201d","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/09\/img_0962.jpg","datePublished":"2014-09-19T01:00:56+00:00","dateModified":"2014-09-19T11:54:33+00:00","description":"Marcel Duchamp and the art of plumbing that followed.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/09\/img_0962.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/09\/img_0962.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2014\/09\/18\/plumbing-the-depths\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Plumbing the Depths"}]},{"@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\/6b16ca558fc538230f135c3220dfd3c8","name":"Dan Piepenbring","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g","caption":"Dan Piepenbring"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/dpiepenbring\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/76968","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\/38"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=76968"}],"version-history":[{"count":7,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/76968\/revisions"}],"predecessor-version":[{"id":76981,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/76968\/revisions\/76981"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=76968"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=76968"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=76968"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}