What I later came to realize was that it was the reality of the work, its "truth," its relationship to its creator and place of creation, that was irretrievably lost in this transfer. In the studio we generally find finished work, work in progress, abandoned work, sketches-a collection of visible evidence viewed simultaneously that allows an understanding of process; it is this aspect of the work that is extinguished by the museum's desire to "install." Hasn't the term installation come to replace exhibition? In fact, isn't what is installed close to being established?

Taken from: Daniel Buren ‘The Function of the Studio

Émile Foucher
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