If the Minimalist art object had shed the painterly problem of illusionism by recasting itself as simply form and material, it was inevitably reframed by the architectural container in which it was placed. [125]

No Visible Means of Support by Andrew Blauvelt is another favourite text from PAINTING AT THE EDGE OF THE WORLD. Blauvelt discusses the relationship between painting and architecture, both historically and in a contemporary context.

If the picture frame had once acted as the traditional self-imposed limit for painting, the frame for new works has shifted to the spatial givens of a particular site. In this way the gallery space functions as both frame and support for the work of institutional critique. [125]

From Hayley and Carla