Rosalind Krauss

Over the last ten years rather surprising things have come to be called sculpture: narrow corridors with TV monitors at the ends; large photographs documenting country

hikes; mirrors placed at strange angles in ordinary rooms; temporary lines cut into the floor of the desert.

This new ideology transmits the message of historicism. The art is made comfortable by being made familiar, since it is seen as having gradually evolved from the forms of the past.

It did not matter that constructivist forms were

intended as visual proof of the absolute logic and coherence of universal geometries, while their seeming counterparts in minimalism were denoting a universe held together not by Mind but by wires, or glue, or the accidents of gravity.

The rage to historicize simply swept these

differences aside.

With the passing of time these sweeping operations got a little harder to perform.

After some time the sculpture began to be piles of thread

waste on the floor, or sawed redwood timbers rolled into the gallery, or tons of earth excavated from the desert, or stockades of logs surrounded by firepits, the sculpture became harder.

The category of "sculpture" covers different aspects, not outright collapse. The logic of the sculpture is inseparable from the logic of the monument is a commemorative representation.

A symbolic languaje spoken on the use of place is a pecifications.The function reacts to the logic representative and are marked as figurative and vertical, to the point where the logic began to fail.

There were two projects that marked: The first were commissioned of the doors to a projected museum of decorative arts and the second was commissioned of a memorial to literary genius to be set up at a specific site in Paris.

These projects will cross the threshold of the logic in the use of monuments, the space can be made to acquire the feeling sitelessness or homelessness or loss of place.

The sculpture comes in a reverse logic condition had previously become negative, these categories are the result from the addition of the not-landscape to the

not-architecture.

Sculptors' attention, at the end of the 1960s, began to focus on the outer limits of those terms of exclusion. The not-architecture is, according to the logic of a certain kind of expansion, just another way of expressing the term landscape, and the not-landscape is, simply, architecture.

Labyrinths, mazes, and Japanese gardens are both landscape and architecture. They were part of a universe or cultural space in which sculpture was simply another part-not somehow, as our historicist minds would have it, the same. Their purpose and pleasure is exactly that they are opposite and different.

Architecture is the construction site between landscape and non-marking sites of architecture landscape and no-achitecture

The artist also explore the architecture plus not-architecture these is some kind of intervention into the architecture; some of the artist are Robert Morris, Robert Irwin, Sol Le Witt, Bruce Nauman, Richard Serra and Christo.

The expanded field that characterizes this theme of postmodernism has two features, one that has to do with the practice of the artist and the other with the medium. Postmodernism gives both for and expanded and finite set of related positions for an artist to occupy and explore and does not condition the medium that you have to use.