". . . Nafisi went on to speak for more than an hour, apologizing over and over again for her digressions and off-topic assays that were very clearly borne of a tremendous passion."
In her essay “Sculpture in the Expanded Field,” Rosalind Krauss argues that postwar American sculpture (and painting) has been “kneaded and stretched” until it became “infinitely malleable.”[i] Something similar takes place in the writing of the expanded fielder.