See Peter Bürger, Theory of the Avant-Garde, trans. Michael Shaw (Minneapolis: University of Minnesota Press, 1984).
See “lollipop,” Online Etymology Dictionary, →. Alternatively, it may be a word of Gypsy origin related to the Roma tradition of selling apples dipped in red candy and placed on a stick, the term for which is “loli phaba” (red apple).
See “The History of Lollipop Candy,” CandyFavorites.com, →.
Lawrence Alloway, “The Arts and the Mass Media,” Architectural Design 28 (February 1958): 34–35.
See Arthur C. Danto, The Transfiguration of the Commonplace (Cambridge, MA: Harvard University Press, 1981).
Richard Wollheim, “Minimal Art,” Arts Magazine (January 1965): 26–32.
Robert Morris: “[O]ne is more aware than before that he himself is establishing relationships as he apprehends the object from varying positions and under varying conditions.” Robert Morris, “Notes on Sculpture II,” Artforum 5, no. 2 (October 1966): 21.
See Jacques Rancière, The Politics of Aesthetics: The Distribution of the Sensible (London, New York: Continuum, 2006).
See →.
Sol LeWitt, “Paragraphs on Conceptual Art,” Artforum 5, no. 10, (Summer 1967), 78–83.
Reproduced in Art in Theory 1900–2000: An Anthology of Changing Ideas, ed. Charles Harrison and Paul J. Wood (Oxford: Blackwell Publishing Ltd, 1992), 894.
Boris Groys, “On the New” in Art Power (Cambridge, MA: The MIT Press, 2008), 22–42.
Boris Groys, “Multiple Authorship” in Art Power (Cambridge, MA: The MIT Press, 2008), 92–100.
Jörg Heiser, “Elevator. Richard Artschwager in the Context of Minimal, Pop and Concept Art,” Richard Artschwager: The Hydraulic Doorcheck, ed. Peter Noever (Cologne: Verlag der Buchhandlung Koenig and MAK Vienna, 2003), 49–60.