"If you choose the wrong questions and you proceed, you still get a result, but it's not interesting"
About this Quote
Nauman’s line reads like studio pragmatism, but it’s really a quiet attack on the myth that art is powered by inspiration alone. He treats making as a kind of inquiry: the outcome isn’t guaranteed to be “good” or “bad,” just more or less alive depending on what you decide to investigate. That’s the sting in “you still get a result.” Process can be flawless, labor can be heroic, and the work can still land with a thud if the underlying problem is dead on arrival.
The subtext is anti-romantic and anti-spectacle. In a culture that rewards finish, polish, and productivity, Nauman shifts the prestige upstream, to the framing. The “wrong questions” aren’t moral errors; they’re conceptual dead ends - questions that don’t generate friction, surprise, or stakes. He’s warning that craft can become a machine for producing answers nobody needs.
Context matters: Nauman comes out of the late-’60s moment when Conceptual art and post-minimalism were recalibrating what counted as art at all. His own work - neon commands, corridor installations that weaponize space, videos that turn boredom into pressure - often looks like an experiment run in public. The point isn’t the artifact; it’s the condition it sets and the discomfort it reveals. That’s why “interesting” is the real criterion here: not trendy, not entertaining, but charged. A right question doesn’t decorate a gallery; it changes the temperature of the room.
The subtext is anti-romantic and anti-spectacle. In a culture that rewards finish, polish, and productivity, Nauman shifts the prestige upstream, to the framing. The “wrong questions” aren’t moral errors; they’re conceptual dead ends - questions that don’t generate friction, surprise, or stakes. He’s warning that craft can become a machine for producing answers nobody needs.
Context matters: Nauman comes out of the late-’60s moment when Conceptual art and post-minimalism were recalibrating what counted as art at all. His own work - neon commands, corridor installations that weaponize space, videos that turn boredom into pressure - often looks like an experiment run in public. The point isn’t the artifact; it’s the condition it sets and the discomfort it reveals. That’s why “interesting” is the real criterion here: not trendy, not entertaining, but charged. A right question doesn’t decorate a gallery; it changes the temperature of the room.
Quote Details
| Topic | Decision-Making |
|---|---|
| Source | Help us find the source |
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