The two essays in this volume follow a long tradition in critical discourse that turns to art's domain as a source of inspiration, instruction, and as material for the construction of its concepts and the development of its problems. The case study of Suite Grunewald by the artist Gerard Titus-Carmel, returns to a subject that has been eclipsed in past decades by the imperative to remember: the creation of the new as an event, or rather, the event of the new as creation. This is an especially vexing problem following, on the one hand, the massive displacement of the subject as the...