and Fried's modernist doctrine dominated the American discussions on art; meanwhile, the artists Allan Kaprow, Dick Higgins, Henry Flynt, Mel Bochner, Robert Smithson and Joseph Kosuth wrote articles on art exemplifying a pluralistic anti- and post-modernist tendency which gained more influence at the end of the sixties. In 1968, Greenberg tried to disqualify the new tendencies as "'novelty' art": "The different mediums are exploding...when everybody is a revolutionary the revolution is over." Sam Hunter offered a more positive view in 1972: "The situation of open possibilities which confronted artists in the first years of the seventies allowed a variety of means and many fertile idea systems to coexist, reconciling through the poetic imagination apparent contradictions." Quotation Joseph Kosuth, WBAI, April 7, 1970: "I used common, functional objects - such as a chair - and to the left of the object would be a full-scale photograph of it and to the right of the object would be a photostat of a definition of the object from the dictionary. Everything you saw when you looked at the object had to be the same that you saw in the photograph, so each time the work was exhibited the new installation necessitated a new photograph. I liked that the work itself was something other than simply what you saw. By changing the location, the object, the photograph and still having it remain the same work was very interesting. It meant you could have an art work which was that idea of an art work, and its formal components weren't important." See also The Treachery of Images, a series of paintings by René Magritte which includes the phrase "Ceci n'est pas une pipe" (This is not a pipe) inscribed alongside a painting of a pipe. References Further reading Archer, Michael: Art since 1960. Thames and Hudson, London 1997, p. 80. Art & Language (Atkinson, Terry/Baldwin, Michael/Pilkington, Philip/Rushton, David): Introduction to a Partial Problematic. In: Joseph Kosuth: Art Investigations & `Problematics´ since 1965. Cat. of exhib. Kunstmuseum Luzern. Luzern 1973, vol. 2, p. 12,22. Dickel, Hans u.a.: Die Sammlung Paul Maenz. Neues Museum Weimar. Edition Cantz, Ostfildern-Ruit 1998, p. 82s. (with descriptions of the constituents of the German-English version and a bibliography). Dreher, Thomas: Konzeptuelle Kunst in Amerika und England zwischen 1963 und 1976. Thesis Ludwig-Maximilians-Universität/Peter Lang, Frankfurt am Main 1992, p. 70-79. Inboden, Gudrun: Introduction: Joseph Kosuth - Artist and Critic of Modernism. In: Joseph