According to Rosalind Krauss, the grid was not a model of continuity but the epitome of estrangement, the antithesis to development, narrative and history. She argued that the modernist breaking down of consistency and wholeness was fundamentally part of the aetiology of the grid. It was a story of severance where things came together in ways that were not previously conceivable. What was left unsaid was a parallel story of stitching, of another coming together, in a different logic of ‘parergon glue’ and ‘introjective loops.’ Paradoxically, stitching creates discontinuous links and feedback folds as a new way of perceiving the world, altering the relationship of art and media within a twenty-first-century embrace.

Doreen Bernath