ABSTRACT
It is diffIcult to forget picking up The Independent on 11 May 1990 and stumbling upon the obituary to Peter Fuller. At first, not fully awake, glancing through the pages and seeing his name I thought I was about to read another one of his eloquent essays when the appalling news became gradually clear. Edward Lucie Smith began: 'Peter Fuller's death in a motorway accident removes a major figure from the contemporary art scene.'l It was impossible immediately to grasp the truth of this shocking statement or to begin to measure the loss. A major figure? Most certainly. He was the man, who more than anyone else in the world of the visual arts, had the insight and audacity to stand against the British avant-garde arts establishment, to propose alternative spiritual and aesthetic terms for the critical mediation ofart and in so doing to contribute to the redrawing of the cultural map of our times.
