ABSTRACT
The work’s sphere of influence in which it manifests itself has been extended, as the readers have to include the immediate environment, too, such as the natural environment or the spatial conditions of museums or galleries. Artists such as Robert Morris, Robert Smithson, and Carl Andre would not settle for placing geometrically shaped works of art into a natural environment, but designed enormous earth dams and ditches that have transformed the optical identity of the landscape. Dan Flavin, for instance, who displays sources of light in exhibition galleries, uses neon tubes to replicate the layout of the space while also disrupting its enclosed unity at the same time. The personality cult of 1940s American Abstract Expressionism and the heightened experience of the self is succeeded, from the point of view of social beings, by an interest in the everyday and in achievements in non-artistic domains.
