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Transcription: [00:08:57]
{SPEAKER name="Jan Butterfield"}
From this case let's talk about PS1, I'm interested in that particular case, really taking great care--

[00:09:06]
{SPEAKER name="Michael Asher"}
Okay--, that is an art institution. And, and...I just think that
{SILENCE}
[00:09:23]
I don't know, I don't know my responsibility to myself, I don't know what that is...I can only tell you theoretically, like I told you, the dynamic class of me keeping my institution, showing the institution of reality within the confines of the institution and within my work itself, within the set of production. And constantly defining it and redefining it.

[00:10:07]
{SPEAKER name="Jan Butterfield"}
And would it be in your own terms immoral to um...
{SILENCE}

[00:10:20]
compare, I guess you really--it isn't really parallel to your work really, you really haven't cut through a broken open in anything that I can think of.

[00:10:37]
{SPEAKER name="Michael Asher"}
Never.

{SPEAKER name="Jan Butterfield"}
Okay thanks, I guess I just answered my own question. I was trying to think of an example where you might transport a piece where you're doing it some place else, but you've done some place else to PS1, which would involve cutting open or carrying to or whatever. So always that i'm forgetting if it's an-historical buildings such as PS1 or Garment street or whatever else, you will choose to maintain the integrity of the existing site, not even maintain to it but listen to it.

[00:10:56]
{SPEAKER name="Michael Asher"}
Exactly. It's silly to lose it, when it can work for you all the time, anyway.

{SPEAKER name="Jan Butterfield"}
Exactly.