Dan Graham’s work is based on a coherent theoretical reflection on the relationship between art and the public. In the art movements of the 1960s, particularly in Minimalism and Post-Minimalism, the artist recognized two assumptions that he set out to reveal as baseless: that the viewer is a singular and isolated individual, and that the viewer’s perception is immediate, a priori, without any contamination from the cultural, historical and social context. Graham is convinced that the process of perception exists in continuous dialogue with the collective and private memory, and that knowledge of the world depends on interaction with others. [...]
