When art and text conspire, compelling incursions into the politics of meaning may result. Take, for example, Joseph Kosuth’s contribution to Documenta 9 in 1992, for which he shrouded wall-mounted artworks with black cloth bearing screenprinted quotations by such thinkers such as Wittgenstein: “OBJECTS I CAN ONLY NAME. SIGNS REPRESENT THEM. I CAN ONLY SPEAK OF THEM.” The installation was titled Passagen-Werk (Documenta Flanerie), 1992, and delivered theoretical sound bites in place of identifiable objects as a means to frame art as a system of critical language signs. Gregg Bordowitz’s work