those abstracted vacuums pumped free of any contaminating atmosphere;
those manifest vacancies scattered around our cities in perfect seriality;
those ideal formulas of neutralised tensions, of disregarded imbalances
are spatialised formulas of a completely vacuous religiosity,
of comprehensive operational performance.
In them Architecture has reached the conclusion of its long journey in pursuit of performance, it has arrived at the stage of pure and total utilisation and finds that it has erased itself, that in its pact with the theatre and the gallery it has reduced itself to being a negative, a lack, an absence. And it is this thin skin of effacement that both sublimates Architecture and traps Art in a contract of suspension, a collusion in which Drama and Art is frozen in its own ludicrous morgue, captured in the placeless stasis of the black box and white cube's nowhere, and in which Architecture willfuly obliterates itself in the ghostly reflection (black or white) of its own ultimate achievement.