Finley to Join the Fun at Lincoln Fest : Art: Protesting artist backs away from her Philip Morris boycott after recent favorable court decision.

Two years ago, Karen Finley withdrew as host of the 1990 Bessie Awards in New York because the event was sponsored by Philip Morris Inc., a major backer of U.S. Sen. Jesse Helms (R-N.C.), a main force in the campaign to stop National Endowment for the Arts grants to artists whose work includes gay, lesbian and feminist perspectives.

Two weeks after Finley presents “A Certain Level of Denial” as a work-in-progress at the Museum of Contemporary Art Wednesday through Saturday, she will perform the work at Lincoln Center’s Serious Fun Festival, an annual event also sponsored by Philip Morris.

Why the change?

“Different situations are happening politically now,” says Finley, who also refused a spot in last year’s Serious Fun Festival because of the Philip Morris-Helms connection. “This year I feel better about it, although (the Philip Morris issue) was something I did think about. I look at things on a case-by-case basis, and when it can help groups or an action, I do it.”

At the time of the Bessie withdrawal in August, 1990, Finley released this statement: “Helms’ blatant homophobia is one of the main instigators for the crisis in the NEA. I cannot participate in a project that makes Philip Morris look like a benefactor to the arts when they also fund the archenemy of art.”

Philip Morris still funds both the arts and Helms. However, other things have changed.

“Initially, I refused (to appear at a Philip Morris-sponsored event) because I wanted to acknowledge ACT-UP and what they’re doing,” says Finley, referring to the 1989-90 nationwide effort by the gay activist group and others against Miller beer and Marlboro cigarettes, two Philip Morris subsidiaries. “But ACT-UP has ended the boycott now. They’ve settled with Philip Morris in terms of their giving to AIDS (research).”

Another reason for Finley’s 1990 withdrawal was because “Helms was running (for office) and I wanted to bring attention to that,” she explains.

Yet now, Finley has been bolstered by recent events. “Especially with what happened in the court, with the decency language overturned, I feel better,” says the artist, referring to a June court decision that declared unconstitutional the NEA’s consideration of “general standards of decency” in reviewing grant applications. The decision has been widely seen as a preliminary victory in a lawsuit Finley and fellow performance artists John Fleck, Holly Hughes and Tim Miller have brought against the government agency.

“I was not applying for any more NEA grants, but I might reconsider that too,” says Finley, who is premiering five new performance and installation works this year.

“I didn’t do any new work for a year after the NEA stuff. I feel like I’ve come full circle, like I’m back onto what I was supposed to be doing.”