Revised working abstract

The purpose of this exploration is to construct intersections involving art,gallery spaces, heterotopias, geopolitical contexts, repetitions, and theeveryday. The artistic gestures by Arman (Full Up, 1960), Kounellis (TwelveHorses, 1969), and Rosler (Garage Sale, 1973) are unique in themselves, as wellas instances of a specific angle in conceptualism during the 1960s and 70s. Theeverydayness of these gestures are critical to gallery ideologies, and produces'masquerading gallery spaces' in late-capitalism (as junkyard, stable, andgarage). These artists enable a reading of neo-dadaism, performance andinstallation art, situated in the postwar period. Space is being collapsedbetween everyday banality and artistic practices, notions that areconventionally divided by philosophical history. In postmodernism, are 'theboundaries truly being blurred,' or are new boundaries being created? Aremuseums as heterotopias--the placeless place outside time--being debunkedthrough these critical gestures in conceptualism? This discussion examinesthese questions and others through the theoretical lenses of Lefebvre,Foucault, and Deleuze, to develop a debate on the everyday and spatiality. Thefocus herein is 'what is(are) space(s),' instead of the perhaps more commonquestion 'what is art.' Douglas Drake Leeds, July 2005