It is a ‘work’, if it may be so called, named Frameworks. It is a lengthy, fragmented, and difficult set of speculations, arguments and assertions as to how a column of air could be identified and defended as a work of art or not. But a column of air could be described in many ways. You couldn’t easily point to it. Immediately the problem of the ‘metaphysical’ location of the work of art was encountered. Was it a column of air or was it a sort of fictional entity? Was it the argument, the ‘theory’ and speculation or the text? The object was being made by the text. Its independence as an art object was being eroded. Many of the dematerialised clichés of post-minimalism are present but the art object risks the condition of mere ‘as if’ insofar as the object—turns into text and the conventional powers of the artist are transformed into those of a participant in discursive talk. Mel Ramsden discussing Frameworks (1966–1967). (Art & Language, Tate Papers, 2004).

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