The Readymade

09/09/1997
The ‘readymade’ as an art-object is an inexhaustible field if one removes its enunciative aspect, i.e. ’this is a…’, testing the parameters of the work of art. Once it is a priori accepted as a work of art, in the sense of already existing in a critical field, then it becomes open to interpretation of meaning, i.e. of art-functionality. (Although I am not sure about this. Is the function of art to define meaning, or to open up to a field of discourse, to instigate debate on meaning? Even if it is about meaning within art, i.e. is this the art?)
A fortiori?