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Lippard  -10

there'd be no selection. But most art magazines [[strikethrough]] seem [[/strikethrough]] are like that anyway.

UM: This is a completely different concept of disseminating art, not just the knowledge of art, art itself.

LL: The appalling thing is that there are so few people who are interested in art anyway. The people who read Newsweek or Art International or Artforum in general would prefer to have the inormation screened for them. A good critic is good because he's looked at a hell of a lot of art and thought about it more than other people. That kind of experience is open to anyone willing to take it on.

UM: What relation do you see between the other arts and what is going on presently in the visual arts?

LL: Admittedly the distinctions are breaking down, but I doubt if poetry or the legitimate theatre have had [[strikethrough]] much [[/strikethrough]] any effect on the visual arts. The visual arts are [[strikethrough]] now [[/strikethrough]] moving out from themselves into areas that hadn't previously been touched upon, the performance media especially which are obviously [[strikethrough]] comes from [[/strikethrough]] adaptable to the anti-form concern with action or process. [[strikethrough]] They're [[/strikethrough]] Artists are moving toward other media but I don't think the reverse is true. I find art that's into performances I find much more interesting than anything I've seen in the theatre; the same thing with poetry. I'd rather read Larry Weiner's statements, which are in a sense poetry, and in another sense totally visual especially in their isolation of single visual facts or conditions. Reading a piece of his is interesting as a general or visualized idea. Then seeing it it executed is seeing a beautiful visual act. His work may be impermanent, but it carries poetry to an extreme that poetry itself can't be carried. [[strikethrough]] At the same [[/strikethrough]] time, its residue in words is as important as the fact that it was done. 

UM: In Europe happeningw are very popular. Beuys, as you know, does not so much make happenings as actions. It's almost the same.

LL: No, because [[strikethrough]] its [[/strikethrough]] [[?]] piece's residue in words is as important as the fact that it was done. But Kaprow had a lot of valid ideas that are not remembered as much as they should be. He work[[strikethrough]]ed[[/strikethrough]]s from the acceptive