In 1967,art critic Michael Fried proposed his critique of Minimalism's"objecthood",which reconstructs the re-lationship between postmodern sculpture and the"viewer",arguing that the production of a particular artistic field is a pre-requisite for determining whether a work of art is an object.In the context of late nineteenth-century modern culture,the Vi-ennese art historian Alois Riegl criticized the theoretical model that equates the history of style with the theory of technologi-cal progress in terms of the material characteristics of the artistic medium.Fried and Riegl's criticism of"materiality"throws light on the demise of the cult value of the work of art,viewing the production of an image as a process of generating a pal-pable,sensible object.Returning to Riegl's text allows for an re-examination of the origins of modern embodiment theory,while Fried's critique of Minimalism represents a dialectical rendition of the notion of"embodiment"which consistently plays a vital role in the critique of contemporary art.
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