Nilanjan Chattopadhyay

“Deconstruction seeks neither to reframe art with some perfect, apt and truthful new frame, nor simply to maintain the illusion of some pure and simple absence of a frame. Rather it shows that the frame is, in a sense, also inside the painting. For the frame is what "produces" the object of art, is what sets it off as an object of art—an aesthetic object. Thus the frame is essential to the work of art; in the work of art. Paint a $5,000 abstract painting on a railroad boxcar and nobody will pay a cent for it. Take a torch, remove the panel of the boxcar, install it in a gallery, and it will be worth $5,000. It will be art because it is now framed by the gallery. But at the same moment that the frame encloses the work in its own protected enclosure, making it a work of art, it becomes merely ornamental—external to the work of art. Thus is the frame central or marginal? Is the frame inside the work of art, essential to it, or outside the work of art, extrinsic to it?”
― James N. Powell, Derrida for Beginners

“The bricoleur, says Levi-Strauss, is someone who uses 'the means at hand,' that is, the instruments he finds at his disposition around him, those which are already there, which had not been especially conceived with an eye to the operation for which they are to be used and to which one tries by trial and error to adapt them, not hesitating to change them whenever it appears necessary, or to try several of them at once, even if their form and their origin are heterogenous—and so forth. There is therefore a critique of language in the form of bricolage, and it has even been said that bricolage is critical language itself…If one calls bricolage the necessity of borrowing one's concepts from the text of a heritage which is more or less coherent or ruined, it must be said that every discourse is bricoleur.”
― Jacques Derrida, Structure, Sign, and Play