A vacant white room with lights is still a submission to the neutral. Works of art seen in such spaces seem to be going through a kind of esthetic convalescence.
A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world.
Art history is less explosive than the rest of history, so it sinks faster into the pulverized regions of time.
Art's development should be dialectical and not metaphysical.
Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits.
I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation.
Objects in a park suggest static repose rather than any ongoing dialectic. Parks are finished landscapes for finished art.
Painting, sculpture and architecture are finished, but the art habit continues.
Nature does not proceed in a straight line, it is rather a sprawling development.
Nature is never finished.
Parks are idealizations of nature, but nature in fact is not a condition of the ideal.
Language should find itself in the physical world, and not end up locked in an idea in somebody's head.
Mistakes and dead-ends often mean more to these artists than any proven problem.
Some artists imagine they've got a hold on this apparatus, which in fact has got a hold of them. As a result, they end up supporting a cultural prison that is out of their control.
History is representational, while time is abstract; both of these artifices may be found in museums, where they span everybody's own vacancy.