So much of what matters about art is in people’s heads; we make things up and sometimes other people take it seriously. Critics think out loud about artworks with the hope that their thoughts make sense and that others will care.
Harold Rosenberg lamented that artworks in the late 60s had become centaurs, half art materials and half words. The same could be said of all objects.
In an artcritical.com round-table discussion of Phillip Guston’s 60s paintings I wrote “I love the determined contingency of all of them, as though each decision was a response to the question ‘what if?’” And then later, “Guston articulates and celebrates incipience, the potential for a thing to come into being.