Although John Latham writes profusely about “event structure,” he has not ventured to enact his theorizing as event. He has created a mass of abstract speculations—verbalized concepts—as well as a traditional body of speculative abstractions—that is, artworks. The entire gist of Latham’s project is geared toward the abolition of differences both between analytic theory and intuitive synthesis and between discursive language and symbolic presentation. His writing depends heavily upon physiomathematical theory of a most specialized and recondite nature; moreover, the full appreciation of his

Ian Davenport, Gary Hume, and Michael Landy are three of the artists who took part in the recent “Freeze” exhibition in London’s Surrey Docks. The show was organized by the participating artists and housed in vacant warehouse space. Because the building was otherwise unoccupied and outside the normal art circuit, the artists were able to keep the show open for as long as it took to sell all the work and cajole the requisite dealers into taking a look. As is usual in London, no one was prepared to show much interest until Americans started making noises, at which point it seemed as though everyone