Much work of the 1960s and 1970s may be understood as addressing not only the tautoligical systems of administration but, often under the radar, those of subjectivity and identity as well.
The solipsist, by definition, cannot appropriate systems culled from outside him or herself. And yet, ironically, by so diligently honing methods to resist exteriority, the solipsist ultimately reveals the delicate connection between self and social.
Establishing one or several systems to keep the outside at bay, the solipsist cultivates a kind of shield, one predicated on mental manouvers of perceptual ordering and reordering
The creation of a documentary installation is…the true goal of any happening, performance or intervention art - even if the artists working in these fields mostly tend to reflect on their own art in different terms.
The contemporary artist is once aga a technician, a producer. But now the artist is no longer an artisan or worker but a project developer and project manager who produces the artistic project documentation by analogy to technical documentation.

ART THAT PRACTISES THE MIMESIS OF THINKING, BY CONTRAST, CAUSES A SHIFT OF ATTENTION FROM THE RESULT TO THE ACTIVITIES THAT ARE SUPPOSED TO PRODUCE THAT RESULT.

THE DOCUMENTATION OF THE VIRTUAL AND REAL STEPS NECESSARY TO REALISE THE PROJECT BECOMES THE MAIN OBJECT OF ARTISTIC INTEREST

Thought Processes

Every installation represents a particular selection process that determines which objects are included and which excluded in an installation, and in which locations inside the space of the installation they must be placed according to the overall organisation of this space. The person responsible for the selection procedure is an individual artists, but every individual selection is supposed not only to exemplify a system of private judgements, preferences and attitudes, but also to be socially, culturally and politically anchored and thus to some degree ‘representative’. The assumption lends the mimesis of certain systems of thought a critical, polemical activity. The installation can become the site of ideological critique, precisely because it operates on the same terrain of selective thinking that ideology does.

Open Systems: Rethinking Art (60).

In search of an even more precise representation, the images become increasingly abstract and the system of depiction becomes increasingly incomprehensible, esoteric, incommunicable, ‘mystical’.
The more one struggles to depict the system as a whole, the more one gets lost in the smallest detail, until one loses sight of the whole once and for all
If, for example, artists are asked why they chose precisely this rule of variation and not another, they can explain it either by falling back once again on their own contingent, subjective, creative decisions or by reference to a meta-system that determines the choice of the specific rule in each individual case. Such a reference to an even-higher meta-level system, however, famously leads to insoluble logical paradoxes that in turn can be eliminated only by the contingent decision to limit the system.