Nature is never finished.
A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world.
Artists themselves are not confined, but their output is.
Objects in a park suggest static repose rather than any ongoing dialectic. Parks are finished landscapes for finished art .
Museums are tombs, and it looks like everything is turning into a museum.
Nature does not proceed in a straight line, it is rather a sprawling development.
Parks are idealizations of nature, but nature in fact is not a condition of the ideal.
Painting, sculpture and architecture are finished, but the art habit continues.
Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits.
Questions about form seem as hopelessly inadequate as questions about content.
History is representational, while time is abstract; both of these artifices may be found in museums, where they span everybody's own vacancy.
Visiting a museum is a matter of going from void to void.
The museums and parks are graveyards above the ground- congealed memories of the past that act as a pretext for reality.
Instead of causing us to remember the past like the old monuments, the new monuments seem to cause us to forget the future.
I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation.
The museum spreads its surfaces everywhere, and becomes an untitled collection of generalizations that mobilize the eye.
Art history is less explosive than the rest of history, so it sinks faster into the pulverized regions of time.
Language operates between literal and metaphorical signification.
Language should find itself in the physical world, and not end up locked in an idea in somebody's head.
History is a facsimile of events held together by finally biographical information.
