PRINT February 1982

Editorial

Whether we like it or not, much of the significant art of our century has been “inaccessible” even to the well-rounded and well-educated because full access depends heavily on one’s possession of a complex cultural and physical reference system, which expands not only with art-historical information, but with perceptual ability, a philosophy of looking, and a broad vocabulary of signs. Some of the most radical works have been articulated in such a specialized language that, as is often the case with scientific experiment, breakthroughs are recognized only by the immediate professional community.