(13) For fuller details concerning artists’ statements, see the author’s “Art,” The Nation, May 22, 1972, pp. 668-669

(14) Jackson Pollock, “My Painting,” Possibilities, New York, 1948; Gene Swenson, “What is Pop Art?,” Art News, February, 1964, pp. 40-43.

(15) For the difference between data collection and isle exchange, compare John Coplans’ excellent interview in Roy Lichtenstein, Pasadena Art Museum, 1967, with Diane Waldman’s Roy Lichtenstein, New York, 1972.

(16) Marcel Duchamp, “The Creative Act,” in The New Art, ed. Gregory Battcock, New York, 1966, pp. 23-26.

(17) The concept of the fine art-pop continuum is given in the author’s “The Long Front of Culture” Pop Art Redefined, ed. John Russell, Suzi Gablik, New York, 1969. Originally published in Cambridge Opinion, 17, 1959.

(18) See the author’s “Notes on Op Art,” The New Art, ed. Gregory Battcock, New York, 1966, pp.83-91.

(19) Robert Smithson, “The Crystal Land,” Harpers Bazaar, May 1966, Howard Junker, “Getting Down to the Nitty Gritty,” Saturday Evening Post, November 2, 1968; Calvin Tomkins, “Maybe a Quantum Leap” The New Yorker, February 5, 1972 pp. 42-67.

(20) Roland Barthes, Writing Degree Zero and Elements of Semiology, trans. Annette Lavers, Colin Smith, Boston, 1970, p.19.

(21) Mark Rothko, “The Ides of Art,” The Tiger’s Eye, December,1947, p.44.

(22) For a wider discussion of translaterbility, see the author’s “On Translation,” Arts, Summer,1971.

(23) Karl Mannheim, Essays on the Sociology of Culture, London,1956.

(24) Ibid.

(25) Mayer Shapiro, “The Liberating Quality of Avant-Garde Art,” Art News, Summer, 1957, pp.38-39.

(26) Ibid

(27) Sol LeWitt “Sentences On Conceptual Art, 1968” Conceptual Art, ed. Ursula Meyer, New York, 1972, p. 175.

(28) Robert K. Merton, Social Theory and Social Structure, Glencoe, Illinois, 1949.

(29) M. P Schutzenberger, “A Tentative Classification of Goal Seeking Behavior,” in Emery, Systems Thinking, pp. 205-213.

(30) Pugh, Hickson, Hining, Writers. Paraphrasing Cyert and March, p.84.