Strau’s concurrent rise with the hegemony of art's image (say, CAD) makes a sense. Text attached to image delaying consumption of object as image, of the dumpy intentionally inconsequential sculpture (lamps), couldn’t be more important. Everyone was talking about painting beside itself while the image was being consumed in ever accelerating means, and Strau attaching text to image, delaying reception by anachronistically giving word to its reception at the moment it made it consumable without giving it away. This was huge. Like Harrison’s semiotic diaspora it delayed finality of its consumption even as it was made immediate.
