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Can art be put at the service of the mind?
Marcel Duchamp made this a principle, Shusaku Arakawa made it a reality.

Arakawa, an artist who was anything but local in his thinking, left Japan to plunge into the New York scene of the ’60s. With one goal: to create mental art, a science of the imagination that conceives and conveys two civilizations; a new form of thought that blends together two opposite worlds: analytic and compendious, discriminating and absolutizing, impersonal and subjective.
He drew on concrete reality, on visual images anchored to the world around them, objects described through mental diagrams—shadows at first, then graphic renderings that follow geometric rules.

Since the visible world is impossible to capture with the sole aid of geometry, he proceeded by meditation, infusing atonal fields with pure spirit and trading images for words. The names of things conjure up enigmatic outlines, similar forms refer to different objects, color is added to give substance to the arrangement of signs.

What we see on the canvas before us is not a fixed image, but a visualization of thought in movement.