In her essay “Against Interpretation,” first published in 1961, writer Susan Sontag persuasivelyargued in favor of an art criticism that “dissolves considerations of content into those of form.” 2 These ideas, which had considerable impact on art history and theory, continue to have currencyin that today such considerations of form and content are rarely separated in discussions aboutart. Through her staunch commitment to the central role of language in art and her unique,inimitable approach to presenting it in various visual manifestations and contexts, Jenny Holzerintertwines form and content to produce a potent tension between the realms of feeling andknowledge. Yet the unceasing presence of social and political ideas throughout 30 years of herwork reveals the depth of her engagement with subject matter that is timely and topical in itsdirect, unflinching consideration of world events and their human impact.
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