My painting, at the limit, can only signify itself... It is. So much so, and so well, that anyone can make it and claim it... Perhaps the only thing … - Daniel Buren

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.

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.