Inside and Out

I think that Quaytman’s critic is right to stress a dialectic of inside and out, and it’s reasonable to ground it in the distinction between art and institutional critique, but I think it’s also important to dwell on the form. The previous post was a kind of comment on the one preceding that, with the point being that the great merit of the “chapter” is the freedom with which it can be opened and closed. The arrangement of parts in one of Quaytman’s chapters might be rigorous, but the initial gesture is free. I prefer that term to arbitrary, which has a very specific meaning. And that gesture does draw a line, create a boundary and make visible an inside and an outside. The chapter has an inside, and the existence of that inside is more interesting than the inside of the museum as something to ponder, not least because it allegorizes all inside spaces, the museum included.

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