Berger’s 1972 show (and accompanying book) “demystified high art, repackaged it in terms that related to everyday life, and proved that a love of great paintings need not be elitist but could co-exist with communitarian values. Today, social and political contexts are so integral to our reading of a picture or story that it is easy to forget how revolutionary Berger’s stance was.” But in an age of Damien Hirst, does Berger matter anymore?