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By George Peter Gatsis

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T__ lray Afirror P-. J" GIllN", II" HIJ AI1, ,'oUT Pnss, Dmbridgc/Mass. llllll Lonoon 1999, p. 62. IU/fr1r-. P (2000). p. Ju'-e, I\ricllc: Ptkne, Boris Grors,l1fTaU, Ph;lioon, Lundon 1<)96, p. IfMlT, \'erso, Lonllon :lnd New York t99S, p. )t4. bl;lcwn, lrilb Cultrtfr, p. 274. ),jamn CAltItliJII, ,\lIT Press. C~mbridl;c/M;lss. :lnll London, 200), p. I. is~ Pomi, ~llo... Docs Your Garden Grow: Documenti c lIiscorsi sull:l\'oro lIi J:lmcs Colem:ln," lJDmllS. Mibn, 570 (1977), II. SJ· '.. ns. I'rc:ss, Lincoln ~nd London, 1982.

Theater became interesting because it offered a different access to the representation of spacial-temporal relationships. The focus was thus nOt primarily on escaping the conventions of an, on a hybridization (which Fried rebukes art for making), but on the necessity of reintegrating a dimension of the histOrical into art and its experience. In the late 1960s and 1970$ Graham realized a series of performances that he collectively termed Tbeatre. 67 At a time when theater itself did not want to be theatrical (at least not in the traditional, representational sense) and Performance Art was just seeking co achieve independence as an art form by setting itself off from the conventions of theater, Graham explicitly resorted to the art form of theater.

Can an artist like Buren, who painstakingly controls all the modes of presentation, documentation and sale of his work (and who has also influenced its interpretation through numerous texts of his own), exert an influence on the historicization of his work? How does this work, which has developed so decisively in debate with the museumas the institution that frames, determines, enables the artwork's existence-relate to the museum as the location that preserves and recollects art and transfers it to a collective memory?

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