installation-art / worm-holes / Elvis

Is identifying the point at which installation-art was no longer tenable
of any use? Does this point-in-time before the great-reversals
constitute a 'cultural wormhole?' A way back? A way out?

In the late seventies it seemed to me at least, that the very
possibility of the Installation was gradually 'leaking-out' of art

My approach was to make use of this tendency and have otherwise
disparate elements fuse as a (negatively entropic) consequence of a
series of inter-related installations. (For a little more on this:

Anyway, the possibility of installation-art reflecting a social sphere
independent of broader political/economic engines of influence was
quite-dead by 1984. Your estimation may vary and I'd like to hear it.

And perhaps like Elvis, the continued manufacture of impersonators
somehow ensures that he/it can't regenerate – at least not under the
same name.