In his illustrated text Dispersion, 2002—which appeared in the catalogue of the 2003 Ljubljana Biennial and has since been taught in art and critical-theory classes at Columbia, Yale, NYU, and MIT—New York-based artist Seth Price re-poses Duchamp’s question “Can one make works of art which are not ‘of art’?” He rehearses some of the well-known problems that have attended efforts to answer this question—in particular, Conceptual art’s tendency to be institutionally recouped as portable, saleable documentation. Taking up this line of thinking, Price’s show at Reena Spaulings in New York last fall included a melancholy yet hilarious bit of haute-Conceptual “documentation,” a grainy, grayed-out video titled Digital Video Effect: “Spills,” 2004, playing on a monitor in its original box on the floor. Its footage, shot by Joan Jonas in the early ’70s, shows Richard Serra, Robert Smithson,

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