RJ: I couldn't work without documentation. But there may be a danger in documentation if it forms its own truth. Reality -- things that happen in a specific moment -- can never be captured by objective documentation because reality is different for everybody who observes it. Everyone recognizes his own truth through the act of observation. Isn't there a danger in the possibility that those who create the documents dictate the shape of history? Is documentation that powerful?
KF: This is a danger. It's a basic problem that we face in all forms of documentation, no matter who makes them and no matter the purpose for which they're made. It seems to me that there is a strong argument to be made for a variety of clear, understandable sources of document from several views. In the recent past, most documentation on art has been compiled or presented by a handful of journalists, critics and finally by art historians. I suggest that there can be valid approaches to art documentation by scholars from several fields and by artists themselves.
The better, the broader, the more clear and conscious a body or documents is, the better we can understand what's happened. I believe that documentation has valid goals and purposes. These purposes can be realized or abused. How we handle documentation, how much and how well, makes the difference.
from an interview between Ken Friedman (Norway) and Ruud Janssen (Netherlands)