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No portion of this document may be reproduced, copied or in anyway reused without permission from Rooseum. . Instead the intention of the exhibition is to illuminate the history of art from a specific perspective - that of the white monochrome. Our modern idea of the colour white has its roots in the nineteenth-century literary milieu where the white colour was associated with death and thus with evil forces. It was Kandinsky - the foremost colour theoretician of modernism - who recharged the colour white for the twentieth century, turning its negative power into something neutral that belongs with emptiness.

No portion of this document may be reproduced, copied or in anyway reused without permission from Rooseum. . Instead the intention of the exhibition is to illuminate the history of art from a specific perspective - that of the white monochrome. Our modern idea of the colour white has its roots in the nineteenth-century literary milieu where the white colour was associated with death and thus with evil forces. It was Kandinsky - the foremost colour theoretician of modernism - who recharged the colour white for the twentieth century, turning its negative power into something neutral that belongs with emptiness.

The various kinds of indicator each have advantages and disadvantages. According to recent ideas about indicators for sustainable development, an indicator should balance "accuracy" and "resonance"; or as termed in this report, Informativeness over against the psychological factors of Involvement, Relevance and Ability. Unfortunately, the empirical data in this area is incomplete, so the report's conclusions are tentative, but do illuminate where further research would be most useful. The report concludes that there is often a tradeoff between informativeness and psychological impact, so balances must be struck. However it is generally desirable to make indicators as clear as possible, for which certain guidelines are suggested.

He participated in The Rules of the Game, a group show curated by Anthony Iannacci and Raphael Rubinstein at Salvatore Ala Gallery, in 1991. Sergio Avello lives and works in Buenos Aires, Argentina. Images from a 1990 show at Paul Kasmin Gallery illuminate lacanian ink 2; Josefina Ayerza interviewes him. One of his sculptures is reproduced in lacanian ink 7. Ellen Berkenblit is represented by Anton Kern Gallery in New York City.
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