白立方：现代艺术的教堂

In classical modernist galleries, as in churches, one does not speak in a normal voice; one does not laugh, eat, drink, lie down, or sleep; one does not get ill, go mad, sing, dance, or make love.
The white cube was a transitional device that attempted to bleach out the past and at the same time control the future by appealing to supposedly transcendental modes of presence and power.
Art exists in a kind of eternity of display... This eternity gives the gallery a limbolike status; one has to have died already to be there... The space offers the thought that while eyes and minds are welcome, space-occupying bodies are not.
“The easel picture: a neatly wrapped parcel of space“
...The stability of the frame is a neccesary as an oxygen tank is to a diver... Where it curtails or elides subject matter, it does so in a way that strenghtens the edge... Once you know that a patch of landscape represents a decision to exclude everything around it, you are faintly aware of the space outside the picture. The frame becomes a parenthesis.