Note on the photographs.
Photographs of art works have their own reality and sometimes they are art in turn. Those taken of the subject of this book tend to be particularly free. They refer to their models, but strangely, as wood a movie taken of a dream, stopped at unexpected intervals. A movie of a dream cannot be the dream and a frame here and there pulled from it must leave the viewer guessing even more. Yet guessing is dreaming too, and if we can never know another ma's dream as he knows it, we can come close to the spirit of his activity by engaging in a similar process. Beyond art, sharing in dream processes is probably what we call reality.
I have put together these photographs, therefore, in a way that would encourage such reverse. The result, in my view, comes close to the character and meaning of the individuals works, as well as their larger relations to each other and the a moment in time. Conventional grouping of data in chronological order has been perfectly valid; but this is a dreaming also, and I have watched this reel too many times to pay attention any longer.
(Assemblages and environments are at root the same, the only difference is one of size. Assemblages may be handled or walked around, while environments must be walked into. (...) Expanding the work until it fills an entire space or envolves one, thus becoming an environment.)
