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Robert Morris’s mandate for the development of sculpture ‘Notes on Sculpture: Part I and II’ (1966)8 and Michael Fried’s famous counter-attack ‘Art & Objecthood’ (1967), are so well-known
except to make the point that the qualities that Fried identified as so problematic in the work of Morris and Judd (site-
specificity, temporality, ‘theatricality’) are precisely those that have shaped what might be called the performative
specificity, temporality, ‘theatricality’) are precisely those that have shaped what might be called the performative
Literalist sensibility is theatrical because, to
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