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 th… - Daniel Buren

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 (artworks) and exposes itself (to critiques).

Vertically striped sheets of paper, the bands of which are 8.7 cms wide, alternate white and colored, are stuck over internal and external surfaces: walls, fences, display windows, etc.; and/or cloth/canvas support, vertical stripes, white and colored bands each 8.7 cms, the two ends covered with dull white paint. I record that this is my work for the last four years, without any evolution or way out. This is the past: it does not imply either that it will be the same for another ten or fifteen years or that it will change tomorrow.
The perspective we are beginning to have, thanks to these past four years, allows a few considerations of the direct and indirect implications for the very conception of art. This apparent break (no research, or any formal evolution for four years) offers a platform that we shall situate at zero level, when the observations both internal (conceptual transformation as regards the action/praxis of a similar form) and external (work/production presented by others) are numerous and rendered all the easier as they are not invested in the various surrounding movements, but are rather derived from their absence.

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.