[Stephen Collington]

I like it! But of course, as you know, the passage I was referring to is this:

So it was that in April of 1970 an artist named Lawrence Weiner typed up a work of art that appeared in Arts Magazine--as a work of art--with no visual experience before or after whatsoever, and to wit:

1. The artist may construct the piece.
2. The piece may be fabricated.
3. The piece need not be built.
Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership.

And there, at last, it was! No more realism, no more representational objects, no more lines, colors, forms, and contours, no more pigments, no more brushstrokes, no more evocations, no more frames, walls, galleries, museums, no more gnawing at the tortured face of the god Flatness, no more audience required, just a "receiver" that may or may not be a person or may or may not be there at all, no more ego projected, just "the artist," in the third person, who may be anyone or no one at all, for nothing is demanded of him, nothing at all, not even existence, for that got lost in the subjunctive mode--and in that moment of absolutely dispassionate abdication, of insouciant withering away, Art made its final flight, climbed higher and higher in an ever-decreasing tighter-turning spiral until, with one last erg of freedom, one last dendritic synapse, it disappeared up its own fundamental aperture . . . and came out the other side as Art Theory! . . . Art Theory pure and simple, words on a page, literature undefiled by vision, flat, flatter, Flattest, a vision invisible, even ineffable, as ineffable as the Angels and the Universal Souls.

Tom Wolfe, The Painted Word, pp.108-9

Took me a moment to find it from last time round.