"These days curators of survey shows simply can't avoid justifying their exhibitions as forms of cultural criticism. (...) This fetishization of academic terminology in artspeak may be seen as one good reason to reject the entire strategy as a hostile takeover of art by intellectualism. Still, a wholesale and knee-jerk dismissal of this sort would be a mistake. (...) One of the historic achievements of modernity has been to radically expand the definition of art. (...) However, the expanded notion of art as cultural criticism can only retain its edge as long as it stays experimental. (...) It is important to articulate the motivation for specific works and projects and subject it to constant scrutiny. (...) Under the umbrella of the discursive approach, individual works become mere ciphers for the particular discourse they are filed under. (...) Discursive practices need discipline. To a certain extent artworks can surely be subordinated to the same principles. (...) For its buzz, however, art largely depends on the unruly dimension of creative production. (...) How is it possible to produce works and exhibitions that have the requisite intellectual restraint to be precise but that also tap into the unfettered energy of art and hence pack a punch?"
frieze 82 (2004)