Considered one of the greatest names in North American Conceptual Art, Robert Barry's unmistakable career on the world art scene began by approaching the limits of perception, exploring impermanent and volatile aspects using mediums such as telepathy, radio waves or invisible gases. His search for the dematerialisation of the object included a concern for the relationship between art and the viewer, seeking to make the latter an integral and indispensable part of the work. It wasn't until the end of 1969 that Barry began incorporating words and texts into his works, abandoning his previous series of “invisibles”. Untitled, a set of eight wooden panels painted red and arranged on the wall in a non-linear visual composition, is an example of a more direct connection with the viewer. The words inscribed in white on the surface and the possible correlations that can arise are a source of questioning. Though far removed from any narrative intention, they provoke new readings and activation of the work. In this sense, language seems to be the real object. In the vibrant monochrome of red we can identify the words confound, conflict, ambiguous, define, obvious, without, encounter, subtle and opposite which, appearing in different positions, preserve their individual semantics and thus seem to enhance the articulation between time, space and consciousness; in other words, to enhance the perceptive capacity of each individual in their relationship with the object itself and with what may appear before and after it.

Carolina Quintela