“he felt that the museum was presenting itself as a bulwark of professional expertise and hence as an untouchable authority that was not essentially interested in a dialogue with visitors. There was, it felt, ‘a one-way traffic in communication’ that hindered ‘the formation of independent opinions on the part of the public’… As opposed to the ‘canonisation of a final situation’…he advocated a presentation of the material that would stimulate visitors to take on the role of researcher themselves.”

“It’s aim was to produce theoretical models for improving the efficiency of information transfer and communication channels. The theory found a broad range of technological and social applications in the post-war decades and also left considerable traces in the sphere of cultural production, especially around 1970.  The transfer of information became a self-imposed task for a wide range of cultural producers.

Thus, conceptual artists adopted a position literally as brokers of information. In their practice as artists they would subject the manual work to a protocol ( a set of explicit prescriptions and rules) and in many cases completely separate the conception of a work from its execution, denying responsibility for the latter.  By reducing a work to the ‘information-value’ of a concept, protocol or script, these artists seemed to accept the premises of information theorists about the possibility — or need — to reduce the act of communication to an efficient exchange of ‘bits’.”

-During the Exhibition the Gallery Will Be Closed