"In order to see that it is conceivable that one person should have pain in another person's body, one must examine what sorts of facts we call criteria for a pain being in a certain place.... Suppose I feel a pain which on evidence of the pain alone, e.g. with closed eyes, I should call a pain in my left hand. Someone asks me to touch the painful spot with my right hand. I do so and looking around perceive that I am touching my neighbor's hand...This would be pain felt in another's body" -Wittgenstein

"For us the following is important: whatever these meanings turn out to be, in order to enter our experience (which is social experience) they must take on the form of a sign that is audible and visible for us (a hieroglyph, a mathematical formula, a verbal or linguistic expression, a sketch, etc.) Without such temporal-spatial expression, even abstract thought is impossible. Consequently, every entry into the sphere of meanings is accomplished only through the gates of the chronotope."-Bakhtin, Forms of Time and Chronotope In The Novel.

"...the narrative achieves an amplitude that information lacks." -Walter Benjamin, The Storyteller

"Galerie Lelong will present the internationally renowned artist Alfredo Jaar and his provocative work The Sound of Silence, a sculpture-and-film installation that addresses difficult questions about the human response to the suffering of others, the responsibilities of the witness, and the ownership of images that serve as witness in the media. At once a moving elegy and instigator, The Sound of Silence, is a powerful testimony in Jaar’s longstanding examination of political injustices and the limitations of their representation through imagery. The exhibition will open to the public on Saturday, February 28, from 6 to 8pm, and the artist will be present.” –Galerie Lelong, For Immediate Release

“The power of a country road is different when one is walking along it from when one is flying over it by airplane…The airplane passenger sees only how the road pushes through the landscape, how it unfolds according to the same laws as the terrain surrounding it. Only he who walks the road on foot learns of the power it commands, and, of how, from the very scenery that for the flier is only the unfurled plain, it calls forth distances, belvederes, clearings, prospects at each of its turns like a commander deploying soldiers at a front.”—Walter Benjamin, One-Way Street

“At 2:06 in the afternoon of October 14, 1991, the sun hit the mystical sculpture at just the right angle, sending a beam of divine light across the four-lane, divided street, straight through a door-sized opening on the other side of a gaily painted fifteen foot wall of corrugated steel sheeting. There it passed into Khlong Pai Signtoh slum and landed right on the twelve year-old Gope Januwong’s forehead, causing him to squint as a trio of Swedish journalists pointed their snub-nosed camera at him through the corrugated sheeting to reveal the slummy innards behind the façade. The image was bounced off satellites and into Swedish TV sets, which made it look as though Gope’s Little squinting face was strained with the pains of hunger.” –Alan Klima, The Funeral Casino