Despite its contorted form, it does not engage time in the way that a rock spectacle does so effectively. The container yard beside the museum is a better example of late twentieth century architecture. If architects address image, it is usually through the pursuit of a private rather than a public language. Back in the fifties Reyner Banham recognised6 that an essential feature of popular culture was the disposability of everything, including its aesthetic qualities. Fisher s work is both colloquial and disposable.
Contemporary architecture can only engage the evanescent world of media through demolition.
It's August 19th, 1999. Back from Bilbao. Both the building and the contents are an integral part of the art market. And either could become the backdrop to Caprice's next video, or Fisher's next event. The machinery of reiteration grinds inexorably.