“Looking at, ie analyzing the so-called the visual elements of an image, we see the surface, the outer look of an artwork. All practical art education (the use of artistic elements, ie art grammar) is mainly focused on this surface analysis. Sometimes, through these elements, it tries to penetrate deep into the essence of the image, into what it initiated and created a work, into an experience (this is the primary task of theory, sociology, and art history). This is very difficult. There are works that undoubtedly suggest its depth and meaning, but there is, at least sometimes, the possibility of a mistake.”

Asymmetric Typography (1935)

Source: Art Worlds (1982), p.xi.

Re: Guide to Lisp, v1.20 http://groups.google.com/group/comp.lang.lisp/msg/f7bc99564506e851 (Usenet article). <br class="br">Usenet articles, Miscellaneous

note: Without this understanding a 'conceptual' form of presentation is little more than a manufactured stylehood, and such art we have with increasing abundance.
'Joseph Kosuth: Introductory note by the American editor', in Art-Language Vol.1 Nr.2, Art & Language Press, Chipping Norton (February 1970), p.3.

transcript of the panel, March 1960, held at the Philadelphia Museum School of Art, as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p.61
1950 - 1960

Quote from Of divers arts, (1962), p. 21; as cited in International Handbook on Giftedness, Larisa V. Shavinina (2009), p. 862
undated

quote, p. 378
posthumous publications, El Lissitzky, El Lissitzky : Life, Letters, Texts (1967; 1980)

Origins Reconsidered: In Search of What Makes Us Human (1992)

Patterns in Comparative Religion (1963), as translated by Rosemary Sheed, p. xiii