"The work of art... in seemingly by-passing all difficulties, attains full freedom, thus in fact nourishing the prevailing ideology. It functions as a security valve for the system, an image of freedom in the midst of general alienation and finally as a bourgeois concept supposedly beyond all criticism, natural, above and beyond all ideology."

“More and more, the subject of an exhibition tends not be the display of artworks, but the exhibition of the exhibition as a work of art. Here, the Documenta team, headed by, exhibits and exposes itself .”

“Every act is political and, whether one is conscious of it or not, the presentation of one's work is no exception. Any production, any work of art is social, has a political significance. We are obliged to pass over the sociological aspect of the proposition before us due to lack of space and consideration of priority among the questions to be analysed.”

“I agree with Rosenberg’s text that says anything is art as soon as it is put in a museum. And that is why artists are such appalling things, since they are responsible for this state of affairs in art.”

“Every place radically imbues with its meaning the object shown there. Art in general refuses to be implied a priori and so pretends to ignore or reject the draconian role imposed by the museum , a role both cultural and architectural. To reveal this limit , the object presented and its place of display must dialectically imply one another”

“Duchamp realized that there was something false in art, but his limitation was that, rather than demystifying, he amplified it. By taking a manufactured object and placing it out of context, he quite simply symbolized art. His actions tended to “represent” and not “present” the object. Duchamp, like all artists, could not “present” anything at all without “re-presenting” it. And if he symbolized art in this way, it was because as soon as he exhibited a bottle rack, a shovel, or a urinal, he was really stating that anything was art as soon as you pointed at it. By extension, and this is very important, that means that a cow in a field becomes art in a painting, a tree by Courbet becomes art, and a woman by Rubens becomes art; now this cow, this tree, and this woman exist in another way. Duchamp dismantled this process supposedly to take away its sanctity, but he went about it in such a way that by being against art, he was in art. Let’s clarify an important point right away: Duchamp is not anti-art. He belongs to art. The art of extolling the consumer society.”

“When we say architecture, we include the social, political and économie context. Architecture of any sort is in fact the inévitable background, support and frame of any work.”