ONE WAY OF REGARDING modernist painting and sculpture finds in them the effort to specify certain ways in which meaning can be made, and made to persist as meaning.1 That is, the most successful modernist works not only achieve meaning, but in doing so they urge a certain concept of, or at least a precise feeling for, what sort of thing ought to count as meaning in a work of art, and therefore a certain notion of what ought to count as a work of art. What has since proven to be the most difficult and interesting tendency is that the art opposing itself to modernist aims began by viewing the achievement of meaning within the conventional modes of painting and sculpture as an instance of the more general and perhaps fundamental fact of the occurrence of meaning. In the perspective of an attempt to find the place of meaning within the world or within experience, painting and sculpture could
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