“It is as though the shifting, changing sands of visual polysemy, of multiple meanings and regroupings, have made us intolerably nervous, so that we wish to find the bedrock of sense. We wish to achieve a type of signification beyond which there can be no further reading or interpretation. Interpretation, we insist, must be made to stop somewhere. And where more absolutely and appropriately than in an act of what the police call “positive identification”? For the individual who can be shown to be the “key” to the image, and thus the “meaning” of the image, has the kind of singularity one is looking for. Like his name, his meaning stops within the boundaries of identity.”
— Rosalind Krauss, In the Name of Picasso













