Abstract

Our understanding of the image in relation to time and temporality has been radically transformed by certain practices within contemporary art since the 1960s. What are the motivations for this challenge, and what is at stake? In this paper, I utilize an emerging critical category of contemporary art practice—the post-conceptual—in order to argue that works such as Dan Graham’s video installations reveal something fundamental about the form of the image, particularly in relation to questions of representation, experience, institutionality, and repetition.