The slashes of /More/ are derived from a catalogue essay
entitled “The /Cloud/” by Rosalind Krauss, in which the author states:
“In the formal notation of semiological analysis, the placement of a word
between slashes indicates that it is being considered in its function as signifier—in
terms, that is, of its condition within a differential, oppositional system—and
thus bracketed off from its “content,” or signified.”
In other words, meaning is to a certain extent formed through binary opposites.
For example, the word “nature” has the word “culture”
somewhat concealed in it. Likewise, the words “more/less,” “illusion/abstraction,”
and “real/artificial” to some extent rely on this oppositional pairing
of terms. Within the context of this exhibition, these paintings, drawings and
artifacts represent the natural world, as much as they represent art and the artificial.
Hence “illusion” here is paired with “abstraction” on
a certain formal level. For a further analysis of such structuralism within the
context of Western art and its history, see Rosalind Krauss, “The /Cloud/”
in Barbara Haskell, Agnes Martin (New York: Whitney Museum of American
Art and Harry N. Abrams, 1992), p. 165.