Every scenario and every mise-en-scène have always been constructed by or on memories. One must chance that—start from affection and new sounds.
I AM THINKING OF THE terms “post-Minimalism” and “dematerialization”—of how they have become entrenched within the lexicon of contemporary criticism. I am thinking of the extreme disjunction between the strategic value of those terms and their capacity to signify. For, while I understand the politics of their usage, their meaning eludes me insofar as it attaches itself to the art they label.
Operationally, “post-Minimalism” acts to drive a historical wedge between the Minimalist art of Donald Judd, Robert Morris, Dan Flavin, Frank Stella, and Carl Andre, and the work of a younger generation which began to achieve prominence by the end of the 1960s.1 “Post-Minimalism,” by insisting upon the temporal divide between these
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