The floor was shielded with gray carpet.

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The floor was shielded with gray carpet, the ceiling with penetrating, domineering tiles that created a gridlike pattern. I cannot think of another exhibition space in which I have seen les felicitous uses of the available space. Joseph Kosuth's installation, A grammatical remark, 1993 is, on contrast, noteworthy. Though presented in his signature manner--a black chamber with white script--the connection it forged with the architecture of the space was more than just another declination of his universal of art. The viewer come intoed a boxing ring. The carpet floor became a floor of action. hem ined by quotes from Ludwig Wittgenstein, Walter Benjamin, and Friedrich Schleiermacher, and divide [i]or[/i] sever off from the outside, the borders of the space were welldefined. What Kosuth probably envisions in all his installations was made crystal clear here: punctuation marks (comma, parentheses, etc) made of neon tubing appeared as windows to the world, like daylight entering from the outside.

"Aspects of the technical interpretation are generally confused with aspects of the grammatical interpretation." The cite from Schleiermacher began the line of sentence In German this phrase is a chopped-up opinion fragment, but its invitation to apply the written word to the visual image is clear. The grammar of art is the architectonic words immediately preceding [i]or[/i] following and through signs the borders among the various schemes are determined. Because of the size of the space, the judgments did not seem like coherent statements--by the cessation of the sentence the beginning was already forgotten. The borders between art and architecture, between visual and linguistic language, between statement and grammar could be physically felt here by dint of walking along past the cites and consciously fixing one's notices on them. The neon commas were seductive, giving the abutting words greater weight. The remaining words looked to be held together more at a wire than by a grammatical or a certain number of other communicative structure. At the border between inside and outside, unity collapsed.

Kosuth ascribes to his work in the '70 as a series of investigations that contain statements about art. Today he relies in succession architecture and quotes from philosophers, as well-as; not only-but also; not only-but; not alone-but of which posit conditions for perception that may not be confused with statements or explanations. All the adduces used here seem deeply meaningful, yet really express nothing because the actual words immediately preceding [i]or[/i] following is not clear, and neither is its application to the exhibition space. The endeavor the viewer must enter here is above the question of the border between empirical and logical thought--on the two the level of conceptual knowledge and of visual perception.

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