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124 OCTOBER By contrast, Graham's work argued for an analysis of (visual) meaning that defined signs as both structurally constituted within the relations of language's system and grounded in the referent of social and political experience. Further, Graham's dialectical conception of visual representation polemically collapsed the difference between the spaces of production and those of reproduction (what Seth Siegelaub would, in 1969, call primary and secondary information).'9 Anticipating the work's actual modes of distribution and reception within its very structure of production, Homes for America eliminated the difference between the artistic construct and its (photographic) reproduction, the difference between an exhibition of art objects and the photograph of its installation, the difference between the architectural space of the gallery and the space of the catalogue and the art magazine. Joseph Kosuth's Tautologies In opposition to this, Kosuth was arguing, in 1969, precisely for the continuation and expansion of modernism's positivist legacy, and doing so with what must have seemed to him at the time the most radical and advanced tools of that tradition: Wittgenstein's logical positivism and language philosophy (he emphatically affirmed this continuity when, in the first part of "Art after Philosophy," he states, "Certainly linguistic philosophy can be considered the heir to empiricism . ."). Thus, even while claiming to displace the formalism of Greenberg and Fried, he in fact updated modernism's project of self-reflexiveness. For Kosuth stabilized the notion of a disinterested and self-sufficient art by subjecting both -the Wittgensteinian model of the language game as well as the Duchampian model of the - readymade to the strictures of a model of meaning that operates in the modernist tradition of that paradox Michel Foucault has called modernity's "empirico-transcendental" thought. This is to say that in 1968 artistic production is still the result, for Kosuth, of artistic intention as it constitutes itself above all in self-reflexiveness (even if it is now discursive rather than perceptual, epistemological rather than essentialist).20 19. "For many years it has been well known that more people are aware of an artist's work through (1) the printed media or (2) conversation than by direct confrontation with the art itself. For painting and sculpture, where the visual presence-color, scale, size, location-is important to the work, the photograph or verbalization of that work is a bastardization of the art. But when art concerns itself with things not germane to physical presence, its intrinsic (communicative) value is not altered by its presentation in printed media. The use of catalogues and books to communicate (and disseminate) art is the most neutral means to present the new art. The catalogue can now act as the primary information for the exhibition, as opposed to secondary information about art in magazines, catalogues, etc. and in some cases the 'exhibition' can be the 'catalogue."' (Seth Siegelaub, "On Exhibitions and the World at Large" [interview with Charles Harrison], Studio International, [December 1969].) 20. This differentiation is developed in Hal Foster's excellent discussion of these paradigmatic differences as they emerge first in Minimalism in his essay "The Crux of Minimalism," in Individuals (Los Angeles: The Museum of Contemporary Art, 1986), p. 162-183.
Page 1 and 2: Conceptual Art 1962-1969: From the
Page 3 and 4: 2 PIA No / AlleTro a .Juliete 3 MEF
Page 5 and 6: 108 OCTOBER movement's self-declare
Page 7 and 8: 110 OCTOBER later by Seth Siegelaub
Page 9 and 10: 112 OCTOBER not more so - in his co
Page 11 and 12: Sol LeWitt. Untitled (Red Square, W
Page 13 and 14: 116 OCTOBER made as the mere displa
Page 15 and 16: 118 OCTOBER to the manifest lack of
Page 17 and 18: VARIOUS Asommm s ift X, ........ iL
Page 19: 122 OCTOBER Years, or, most signifi
Page 23 and 24: 126 OCTOBER reception - the underst
Page 25 and 26: 128 OCTOBER tion types shows art "w
Page 27 and 28: 130 OCTOBER which never sets over t
Page 29 and 30: Robert Morris. Four Mirrored Cubes.
Page 31 and 32: 134 OCTOBER The diversity of these
Page 33 and 34: 136 OCTOBER Transcending the litera
Page 35 and 36: ftkw-% l ft VW v , W ? fl" Is: 1% S
Page 37 and 38: 140 OCTOBER incidentally, which had
Page 39 and 40: 142 OCTOBER Buren, Mosset, Parmenti

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