Spatial Representation

The changes that occurred in the perception of time and space in the visual arts in the twentieth century questioned the traditional concept of representation, specifically representation defined as the transfer of an object from real space to illusionary space. Techniques of, for example, collage, montage, emballage, happening, and pastiche allowed the artists to take any number of elements from preexisting works, forms, messages, and to integrate them into an original composition manifesting ruptures of threefold sort. First of all, the new work of art was now believed to be real in itself, a reality that existed in a parallel formation to physical reality.2 Second, the processes of grafting-achieved via an introduction of nonlinear temporality and destabilized spatiality-brought to the fore new relationships between objects, their forms, and their functions in this other reality.3 Third, these

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