Empty Pool, Rancagua
1990
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- Convictions in Art
- Notes on My Practice/ What's Wrong with the Hidden City Project?
- Gordon Matta-Clark and the Wall Sandwich
- Construction & Destruction
- Crisis
- Limits to Movement Through space
- Notes on the Work of Marcel Duchamp
- The Studio
- Art and the Reality of Fiction
- Bad New(s) Days
- Sunlight
- Faith, Confidence and Belief
- Not 'Picture Marking'
- Agnes Martin vs. Pacific Rim
- A Lament for the Lost Innocence of Abstract Art
- On Academic Writing and Finding One's Voice
- The Site of Art
- Fun Lichtenstein
- Thoughts on my Practice
- Psittacittic Minimalism
- Taking Stock Again
- On Abstraction 2
- On Abstraction
- Fear
- Notes on Images
- Statement for Core Gallery Open Exhibition
- Limitations/ Renaissance
- Flesh/ Metal
- Cold War Design
- Notes to Myself 6
- Notes to Myself 5
- Notes to Myself 4
- Notes to Myself 3
- Notes to Myself 2
- Notes to Myself
- From "The Language of New Media"
- Responsibilities in Public Art
- The Word Trap
- The Simulation
- The Expanded Moment
- Context is Everything
- Truth and Lies
- Human Evolution and Society
- Juan Munoz Double Bind/ Mike Nelson The Coral Reef
- Culturally Mediated Landscapes
- Possibilities for the Presentation of the Kerbstone Rune project
- Truth
- The Work of Thomas Demand
- Design
- Keywords, Dualities, Utopias
- The Broken Line/ Dotted Line
- Magic and Poetry
- Hidden City Project
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- Reality and Fiction
- The Known is the Unknown
- Choosing to Believe
- Important Elements
- The Readymade
- Anti-relational Aesthetics
- Exhibition Press Release and Statement, m2 Gallery
- Betwixt/ in-between
- The Archive
- The Box File
- Archive Project
- Five Thoughts
- Themes
- The Archive/ Book Project
- My Work
- Thoughts on My Work: Themes & Ideas
- Themes
- Obsession
- Form of the Project
- Railway Lines
- Signs, Objects, Relationships, Connections
- Hidden Worlds
- What if...
- What to Do?
- How to Escape the Conceptual?
- Billboard Project
- Language of Art
- Notes on Taksonomia/ Taxonomy
- The Art Context
- Experience
- Ethics of the Artist
- Questions
- Why Make ‘Art’?
- The Elements of Painting
- 'Meaning'
- Communication Theory
- A Practice
- Taking Stock
- What is Art for?
- Worries
- The Readymade
- Photographs
- Neutrality
- Art as Process
- Space-Time
- Parallel Lines Converge
- Membrane
- Residue
- Residue
- The Obscenity of Text
- Keywords 3
- Magic
- Keywords 2
- Text from Expatiate Extempore booklet
- Ethical Art
- The Long View
- Discourse
- Hazard Imagery
- Utopia/ Dystopia
- My Concerns
- Facile Art
- The Future/ Language and Mimesis
- Language
- Keywords
- The Site of the Artwork
- Manipulated imagery
- Hazard Paintings
- Areas of interest
- Avant-Garde
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