This article draws out the ‘politics of the misfire’ as a process constituted in part by discursive articulations of the ‘misuse’ of guns, and in part by mediated visual narratives of criminality cultivated in American visual culture. Specifically, the author examines how the decades-long historiography of artist Chris Burden’s iconic artwork, Shoot (1971), relies upon and perpetuates spatially racialized and gendered notions of innocence and safety. She argues that the conceptual art collective Asco’s theorizing of misfires in response to their vulnerability as Chicanos in America provides a vital framework for recognizing how the neutralized archetype of white masculinity, simultaneously innocent and lawless, animates and sustains the legacy of Shoot. Through consideration of geographies of cumulative vulnerability, access to resources, and systemic racism this article links processes of art historical canonization to discriminatory practices that structurally oppress people of color in the United States.

中文翻译：

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阿斯科、克里斯·伯登和失火的政治

本文将“失火政治”作为一个过程，部分由对枪支“滥用”的话语表达构成，部分由美国视觉文化中培养的犯罪行为的中介视觉叙事构成。具体而言，作者考察了艺术家克里斯·伯登 (Chris Burden) 的标志性艺术作品“射击”(1971) 长达数十年的历史编纂如何依赖并延续空间上种族化和性别化的纯真和安全观念。她认为，概念艺术团体 Asco 针对他们作为美国奇卡诺人的脆弱性而提出的失败理论提供了一个重要的框架，用于识别白人男性气质的中立原型，同时天真和无法无天，如何激发和维持 Shoot 的遗产。通过考虑累积脆弱性的地理区域，获取资源，