This piece of writing addresses the paradox of the Outsider Art phenomenon. From meditating on the history of Art Brut, to using a particular case-study of the Museum of Everything, it considers how Outsider Art has been curated in the modern age.


As a root assumption it adopts Hans Haake’s claim that the presentation of works of art are always political. By reflecting on the ideological and economic status of the art genre, it endeavours to show how the ‘outside’ of Outsider Art has been compromised by the ‘inside’ of the contemporary art apparatus.