"Long before his Kassel intervention, Joseph Beuys had decided to lend his performances a predominantly educational flavor; and since the 1980s, Adrian Piper’s Funk Lessons, Thomas Hirschhorn’s neverending lectures, and the pedagogical nature of the activities of Tim Rollins and Kids of Survival have thrived on the border between artwork and art school. Other artists, such as Michelangelo Pistoletto and Olafur Eliasson, have decided to transform their living and work spaces into schools, or, as in the case of Marina Abramovic, have taken on the responsibility of creating a brand-new school: the less they are legitimized by the diploma they can issue, the more radical they are. From the viewpoint of an increasingly coercive system, the function of the school, at least in part, is to rid itself of its own shackles. [...]
And we should never forget that an art school is a school of doubt: one teaches a subject that cannot be defined, since art is both an endless challenge and an asymptote. The vicissitudes of the concepts of art and the practices that it has adopted over centuries have changed so much that each historical period has redefined the term a posteriori, in the wake of what artists have already accomplished.
On this point, we can quote Nigel Warburton, who asks us not to waste time on definitions but to deal directly with the works."