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THE ARTIST MAY CONSTRUCT THE PIECE

THE PIECE MAY BE FABRICATED

THE PIECE NEED NOT BE BUILT

EACH BEING EQUAL AND CONSITENT WITH THE INTENT OF THE ARTIST THE DECISION AS TO CONDITION RESTS WITH THE RECEIVER UPON THE OCCASION OF RECEIVERSHIP

The above statement was published in the catalogue for the exhibition January 5–31, 1969 at the Seth Siegelaub Gallery, New York, and has accompanied the artist's work since 1969. Following this exhibition one commentator asked: 'An integral aspect of your work is the existence of a receiver. The receiver … decides whether you will build the piece, have the piece fabricated, or not build it at all. Why?' In response Weiner outlined: 'Because it doesn't matter … The condition of the piece. If I were to choose the condition, that would be an art decision which would lend unnecessary and unjustified weight to what amounts to presentation - and that has very little to do with art.

With relation to the various manners of use for/of various things 1974/1976/1983/1998–1999 was acquired with other exemplary conceptual material, Robert Barry's Somehow 1976, Joseph Kosuth'sOne and three mirrors 1965, and One and eight — a description 1965, Douglas Huebler's 300 variable piece: No.70 1971–76 and Variable piece: No.501 1975, as well as a collection of work by Australian-born artist Ian Burn.

Steven Tonkin

1. See January 5–31, 1969, New York: Seth Siegelaub Gallery 1969, n.p.; see also Information, New York: Museum of Modern Art 1970, p.134; Gregory Battcock, 'Documentation in Conceptual Art: Weiner, Buren, Bochner, LeWitt', Arts Magazine vol.44 no.6, April 1970, p.42
2. Arthur Rose, 'Four interviews with Barry, Huebler, Kosuth and Weiner', Arts Magazine vol.43 no.4, February 1969, p.23

Text © National Gallery of Australia, Canberra 2010