abstract
This text, published on journal Critical Inquiry, in 2000, addresses the relations between Minimalism and contemporary art. The author suggests the analysis of what he understands as a rhetoric of Minimalist Art, linked to an ideology of space and shape purity and to a notion of transcendence that meets its antecessors, partly, in Puritanism. Morris investigates how this discourse, allied to a social context and to a configuration of public space in which prevails the idea of life as a lifestyle, contributes so that the artistic production and the museums’ and art institutes’ actions, especially as of the nineties, get increasingly closer to the notion of art as entertainment.
keywords:
Minimalism; Contemporary Art; art institutions