A table is set with two red books placed at diagonal corners and a stack of three poker chips placed in the center. Two women enter, sit, and begin to play with the books and poker chips. Different soundtracks converge; the dialogue begins to sound like an interrogation as one character asks, “What is the structural definition of logical positivism? Lawrence Weiner, what is the structural form as in the manner and use of your language? Does it not have a direct relation to logical positivism?”
Working in a wide variety of media, including video, film, books, audio tapes, sculpture, performance, installation, and graphic art, Lawrence Weiner consistently invokes social situations that elicit responses to issues of language, philosophy, theater, and art. Identified with conceptual art, Weiner is notable for his fervent desire to invent new forms and transformations. Unlike some conceptualists, Weiner does not shy away from materializing the art object—instead he tries to work across artistic conventions. A commitment to a democratic art, an art that adapts and changes form in response to cultural and social changes, is fundamental to all of his work. His videos stem from his preoccupation with the process or act of making art, with discourse surrounding art objects and the changing context of materials as they are used.