“The truly made work is thus enriched because it introduces into the expanded field of the object, that displaced movement of 'thirdness', the diagonal relation, that inscribes something that remains nameless, that something that moves the material beyond itself, towards the other, surviving at the point of invisibility, sustaining the unthought. This is the strange moment when the technical turns into the affrighted reflux of the sublime; when the drip painting gathers in order to move back and forth, and the eye, in the extended field, pushes in and out. For in true making, as in the introjective process, the identification with the object is never with the sum of its parts. Its diagonal aspect – the agonistic gathering, the conflictual confluence – is what emerges as presence; it represents the vacillation and ambivalence of the material that can never be stabilised or naturalised in the objecthood of art. Like the analyst moves towards the unconscious, the artist of the void mediates our relationship to the emptiness that ensures that the work of true making goes on and on. Like the incorporative relation, it expands by moving back and forth between the self-made and the man-made, as the virtues and vicissitudes of the work continually emerge, displayed as figure, at one moment, and then displaced in the living performance of art.”
Homi K Bhabha
http://anishkapoor.com/185/Making-Emptiness-by-Homi-K.-Bhabha.html