æz ɹˈɪtʃɚd keɪlˈiːnɚ ɹˈoʊt ɪn ˈɑːɹt ɪn ɐmˈɛɹɪkə ɪn nˈaɪntiːnhˈʌndɹɪd nˈaɪnti sˈɪks, bˈɑːtʃnɚ wʌz wˈʌn ʌvðɪ ˈɜːlɪɪst pɹəpˈoʊnənts, ɐlˈɔŋ wɪð dʒˈoʊsəf kˈɑːsʌθ ænd bɹˈuːs nˈɔːmən, ʌv fˈoʊɾoʊdˌɑːkjuːməntˈeɪʃən wˈɜːk ɪnwˌɪtʃ ðɪ ˈɑːɹɾɪst "kɹiːˈeɪɾᵻd nˌɑːt sˈoʊ mˌʌtʃ ɐ skˈʌlptʃɚɹ æz ɐ tˈuːdᵻmˈɛnʃənəl wˈɜːk ɐbˌaʊt skˈʌlptʃɚ.
As Richard Kalina wrote in Art in America in 1996, Bochner was one of the earliest proponents, along with Joseph Kosuth and Bruce Nauman, of photo-documentation work in which the artist "created not so much a sculpture as a two-dimensional work about sculpture.