Whiteprint 1992

Editor: This is Thérèse Oulton’s 'Whiteprint' from the Tate. It's a small, rectangular form in muted gray against a larger white field. It feels almost like a study in negative space. What is your take on this piece? Curator: It challenges the power dynamics inherent in art display. Its stark simplicity questions traditional notions of value and what gets deemed worthy of institutional attention. Does its minimalism make it more or less accessible to the public, do you think? Editor: I see what you mean. I suppose it depends on the viewer’s expectations and background. I've definitely learned something new. Curator: Me too, it's fascinating how a simple image can provoke such thoughts about art's role in society.