ABSTRACT
The notion of the museum as a guardian of the public patrimony has given way to the notion of a museum as a corporate entity with a highly marketable inventory and the desire for growth.’ One of the arguments made by analysts of postmodern culture is that in its switch from what could be called an era of industrial production to one of commodity production – an era, that is, of the consumer society, or the information society, or the media society – capital has not somehow been magically transcended. The industrialized museum has a need for the technologized subject, the subject in search not of affect but of intensities, the subject who experiences its fragmentation as euphoria, the subject whose field of experience is no longer history, but space itself: that hyperspace which a revisionist understanding of Minimalism will use it to unlock.
