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Hyperallergic editor-in-chief Hakim Bishara’s newsletter, “Long Live Generation 6-7,” closes with the suggestion that a new generation is reworking the legacy of May 1968. The supplied report does not explain who “Generation 6-7” refers to or establish a direct connection between the protests in France and that phrase.
Hyperallergic editor-in-chief Hakim Bishara used the closing lines of a weekly newsletter to connect attention to student protests in France with the claim that “generation 6-7 is remaking May 68.” The newsletter also gathers arts coverage and cultural news, but the supplied text does not define the generation or explain how it is reshaping the events and ideas associated with May 1968.
The newsletter’s opening editorial moves through a series of personal observations: frustration with a podcast discussion of French welfare benefits, a return to Marcel Proust after finishing a highly promoted novel, and memories prompted by attending a gala in a tuxedo. Bishara also describes meeting Algerian-French artist Kader Attia in a Manhattan Tunisian restaurant for an interview about an exhibition Attia is curating in India. The passage ends with images of doves on an eagle sculpture and a Nina Simone lyric, before turning to its generational statement.
The issue’s listed coverage includes Lucy Ives’s review of a Krasner-Pollock exhibition at The Metropolitan Museum of Art, photographs from protests in France, and an interview with outgoing Yaddo president Elaina Richardson. The newsletter also previews a Manhattan performance described as L train burlesque and includes other arts reporting, criticism, features, and announcements. These items establish the issue’s breadth, but the source does not say that they form a coordinated package about Generation 6-7.
Other items in the newsletter’s news roundup include reports on a gilded nude statue mocking Donald Trump at the European Parliament, Pope Leo’s comments about the Church’s relationship with artists and cultural institutions, and increased city-funded grants for New York artists. The roundup also says the Whitney Museum and its union reached an agreement on the eve of a scheduled strike. Those developments are presented as separate news items, not as evidence supporting the closing claim about a new generation.
A Generational Claim Without a Definition
The closing line gives a generational frame to the newsletter’s reference to protests in France, suggesting that current young people may be reshaping the meaning of May 1968. That comparison matters because it presents the protests not only as current events but as part of an ongoing argument over political inheritance: how later generations take up, revise, or reject earlier movements.
However, the source provides no details about the protests’ organizers, demands, scale, or timing, and it does not identify what “6-7” means. Readers therefore cannot use this newsletter alone to judge the scope of the protests or the basis for comparing them with May 1968. The phrase works as an editorial sign-off, not as a developed report establishing a movement or historical parallel.
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The supplied report places its reference to France’s student protests within a weekly newsletter that mixes editorial writing with reporting, criticism, interviews, and cultural listings. Its opening describes a listener rejecting a podcast commentator’s argument that France’s pension and parental-leave benefits make the country less competitive. That is a characterization in Bishara’s editorial, rather than an independently documented account of the podcast or a full explanation of French policy.
May 1968 is invoked only in the newsletter’s final sentence, which says “generation 6-7 is remaking May 68.” The source does not expand on the historical reference, identify the people included in the label, or provide evidence about their relationship to the present-day protests. The surrounding material offers a personal and cultural frame, not a detailed history of the earlier events.
“Meanwhile, generation 6-7 is remaking May 68.”
— Hakim Bishara, Hyperallergic editor-in-chief
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What “Generation 6-7” Means
The supplied material does not define “Generation 6-7”, explain whether it is a recognized label or a phrase coined for the editorial, or specify who belongs to it. It also does not give a publication date, identify the French protests discussed in the opening, or report their participants’ demands and response from authorities.
The comparison with May 1968 is Bishara’s stated interpretation. The newsletter provides no evidence to assess how current protesters understand that history, whether they identify with the earlier movement, or what the claim that they are “remaking” it entails. The text does not establish that the other arts and cultural items in the issue are connected to the protests.
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Further Reporting Needed on the Protests
The supplied newsletter offers no follow-up date or next event for the protests, and it does not point to a later installment explaining the phrase. To establish what is happening on the ground, readers would need reporting that identifies the demonstrations, their locations and dates, the groups involved, their demands, and any official response.
Additional explanation from Bishara or Hyperallergic would also be needed to clarify what “Generation 6-7” refers to and why the editor sees it as remaking May 1968. Until then, the confirmed development is the publication of the newsletter and its editorial comparison—not a documented account of a defined generational movement.
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Key Questions
What is the news in “Long Live Generation 6-7”?
Hyperallergic published a weekly newsletter in which editor-in-chief Hakim Bishara connects French student protests with a closing claim about a generation reworking May 1968. The source does not provide a separate announcement or detailed protest report.
Who is Hakim Bishara?
The supplied report identifies Hakim Bishara as Hyperallergic’s editor-in-chief and credits him with the newsletter’s opening editorial.
What does “Generation 6-7” refer to?
The newsletter does not define the phrase or identify its members. Its meaning remains unclear from the supplied material.
What details are provided about the protests in France?
The issue refers to student protests and says it includes photographs, but provides no dates, locations, organizers, demands, or official response. Those details are not established by this source.
What other coverage appears in the newsletter?
The issue lists Lucy Ives’s review of a Krasner-Pollock show at The Met, an interview with Kader Attia, photographs from protests in France, and an interview with outgoing Yaddo president Elaina Richardson, among other arts coverage and news items.
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