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The beautification of conceptual art, by assigning it more visceral roles it had once, in theory, rejected, is a hypostatization of conceptual art's poetic function. i.e.: Conceptual Art was always maximally poetic, failing to deliver the bureaucracy its language promised - breaking the glass of language to expose perfume of its confusion, irreductive - and glossing beauty atop to prove it: annoying at best. Wyn Evans engagement with this problem seems, at least partially, the point, the aestheticization of experience and awareness of the gloss. This is the sinister pulsing quality of Wyn Evans, the fact that there is no need for this artificial light.
See too: On Kawara at the Guggenheim