When Ian Wilson (1940, Durban, South Africa), arrived in New York in the 1960s, he immediately became interested in reducing form and abandoning representation in painting, before developing an oeuvre based essentially on the use of language. Wilson stresses that he is not a poet and that he considers “oral communication to be a sculpture.” By 1972, he was organizing carefully prepared discussions on topics such as the absolute, its definition, or the search for it. Recording and note-taking were forbidden during these exchanges, which took place over a limited period of time (generally one hour) with a small audience. Only a certificate from the artist confirmed that the piece had been performed. In two rooms on the third floor, the exhibition showed the artist’s last visual works, such as Untitled (Discs) (1967) and Chalk Circle on the Floor (1968), which were already heralding the dematerialization of his work. It also contained Sections, which verified in book form that his Discussions had occurred, but without revealing any of their content.