It's quite easy, really: imagine a mind without dreams, and the without-art part follows logically.

In any serious art town Zedism would be read as some sort of really cheeky joke. A fabricated art movement built around a highly simplified interpretation of cubism is actually quite funny if you can see it that way. But in San Diego it reads as yet another horribly naive product of a scene which seems almost pridefully ignorant of anything that has happened in the "art world" within the past hundred years or so.

Better yet is what appears to be a rebel pose against the non-art community of San Diego in the piece here, a version of "a day without a Mexican" with Art itself as its stubbornly hard-working yet societally unappreciated hero.

What Yuran really should be exploring is the double-bind of artists existing in cities without the Art-worlds warmly suffocating embrace; that being the ability to gain status quickly and easily but having no larger outlet to spill into after a certain point of growth is achieved. You can indeed be a mover-and-shaker in San Diego, quite easily in fact. All it takes is a smidge of persistence. The real challenge for San Diego artists to overcome is not their apathetic, indifferent-to-the-arts audience, but in fact their own desire to "be somebody" in an "art-scene" quickly and cheaply.

The San Diego art scene can actually benefit from non-exposure if it is handled correctly. Ours can be truly subversive and counter-cultural to the extent that a real sub-culture is actually created around the arts, whose members take pride in its non-inclusion to dominant society or the dominant art-world. True movements happen when artists support and respect each other in Opposition to broader culture.