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There's been some phenomenal take-downs of Sehgal. From Benhamin Meyer-Krahmer's comparison of Sehgal to Paris Hilton in TzK or Scanlan's to the Music Man in Artforum. Both unfortunately unavailable online. Both wildly lucid and entirely written with the same tongue-in-cheek smile and slightly exasperated understanding that, despite their overwhelmingly negativity towards it, provide the most incisive compelling explanation of it free of the jargon usually accumulating in stacks as the columns that herald them, the artists. It is perhaps the trait of the negative review that the author wishes to be understood, as opposed to the masses of words which however useless semantically already denote the crown.
http://ge.tt/2yFzSwh2/v/1
http://ge.tt/2yFzSwh2/v/0
The radicality of Sehgal's practice softens as it finds ways around its ascetic limitations, as it is documented by onlookers, as it sells itself to museums, as images on CAD.