Joseph Kosuth

  • Douglas Huebler

    I WAS INTRODUCED TO Doug Huebler in 1968 by Seth Siegelaub, a soon-to-be former dealer who at the time was showing Robert Barry’s and Lawrence Weiner’s paintings and the work of a few others as well as Doug’s Formica sculptures (as these artists’ work changed, so did the nature of Seth’s activity). Doug had strength, grace, and a kind of wizened humility, all qualities that I, at twenty-three, frankly lacked. He also had maturity—when I was born in 1945, Doug was serving as a sergeant in the US Marine Corps. The image of him as a Marine fit in with the strong impression he made physically. He

  • NO EXIT

    I suspect that we have not yet gotten rid of God, since we still have faith in grammar.

    —Friedrich Nietzsche

    Men fight and lose that battle, and the thing they fought for comes about in spite of their defeat, and when it comes, turns out to be not what they meant, and other men have to fight for what they meant under another name.

    —William Morris

    I. To Remind

    insofar as its public reception was concerned, Conceptual art was defined at birth in relation to formalism and, by critics like Lucy Lippard, in the language of Minimalism. The strategic reason (from my point of view at the time) for emphasizing

  • Necrophilia, Mon Amour

    (THE COMMENTS I’VE WRITTEN HERE were written in one sitting and basically as you find them. I’ve tried to be as chatty as possible; it seemed appropriate to the form of this project. Needless to say the excerpted portions of the conversation that accompany my text here, in gray, become only a quasi-factual account; not that people didn’t say what is attributed to them, but the transformation of an oral discussion into a written text is nothing less than radical. Often, because of multiple voice-overs, the transcriber is obliged to approximate or reconstruct with only parts of the dialogue. I’ve