Consistently working in just shades of grey, Feldman has developed
an abstract sign system that alludes to systems of writing and the transmission of information: the viewer might be reminded of the monochrome of newsprint and calligraphy, or the grey scale of early TV.
His intention, however, is not so much to comment critically or ironically on the notion of historical progress in art as it is simply to keep the viewer from getting bogged down by an unfamiliar or excessively
abstract sign system.
Darboven's characteristic conflation of an
abstract, overarching framework and individual self - assertion are resonant in the
sign structures conceived, for example, by Channa Horwitz or Michael Müller, as well as in the textual works and writing
systems of Fiona Banner, Irma Blank, and Natalie Czech, in the temporal processes of Sigrid Sigurdsson, the appropriation of history practiced by Daniela Comani, Lia Perjovschi, and Rayyane Tabet, or in the collages conjoining current events and popular culture created by Isa Genzken and Robert Heinecken, as well as in the encyclopedic, material - based classification
systems of Henrik Olesen and Joëlle Tuerlinckx.
As a personally constructed
system of
signs, painting is inherently
abstract while photography, an indexical
sign left by a trace of light across a film plane, is unavoidably representational.