As in the case of fairs, gallery and museum exhibitions are accompanied by written and verbal statements about the meaning of the works, which I call style scripts.27 Style scripts include press releases, artist statements, catalog text, and informal conversations.

In the absence of objective or universal criteria for evaluating their work, ambivalence, excitement, and boredom serve as fulcrums for aesthetic judgment.

Centrifugal and centripetal forces drive the creative cycle as artists toggle between concentrating and evolving their bodies of work.

Artists rely on specific emotions that arise during the creative process to interpret what is relevant and interesting in the context of their specific bodies of work.

Even when artists can adequately predict the results of experimentation, they must aesthetically judge these results in a field that lacks consensus as to what constitutes good work.

The other kind of uncertainty is evaluative.

Artists can never completely predict the results of experimentation because materials react in ways they do not expect and because they are not fully conscious of their creative decisions before they make them.

One kind of uncertainty is material:

During the creative process, artists must stabilize two kinds of uncertainties in order to choose from infinite possibilities for source material, decide what to do with these materials, and assess the results.