closely to Jameson's sense of the postmodern as involving 'superficiality' and 'deathlessness' (Art in Theory, p.1077). There are other issues relevant to postmodernism to which Burgin does not directly refer, such as: a critical approach to the exhibitions and museums system, which has lead to alternative ways of presenting works of art; a tendency to pastiche or parody of earlier works of art; and, in some instances, the necessity of active involvement by the viewer. While Burgin's statement does not emphasise these points, they are illustrated by his own work. What does Possession mean to you (pl. 189) uses a glossy advertising-style photograph which is placed in the context of a caption about the ownership of wealth to put a different, socio-political perspective on the image, calling into question issues of gender dominance and property ownership and thus critiquing social norms. It was exhibited not as a single 'artwork' in a gallery, but in a set of '500 copies posted in the streets of the centre of Newcastle-upon-Tyne'. The replication of the image and its display on the streets can be seen as critical both of the idea of the importance of orginality and of the exhibitions and museums system. A decoupling of art from the established methods of presenting it to the public seems to be characteristic of postmodernism, and is also exemplified by developments such as the Land Art of Richard Long and Robert Smithson, and the public projections of Krystof Wodiczko. These images, for instance his projection of hands holding prison bars onto a courthouse (pl.D71), function, like Burgin's poster, as socio-political commentary and also share with it the ephemeral quality mentioned in relation to Koons. Work by Burgin such as 'Any moment previous to the present moment' (pl.169), which consists of text from which the viewer/reader has to construct his/her own image, highlights both Burgin's view of the importance of concepts in postmodernist...
