in the five years between 1909 and 1914, he laboured to turn a speculation about the meaning of pure form into a system of language. These were also the years in which Kandinsky was attached, with an almost missionary zeal, to the doctrines of Theosophy. It is clear from his writings that he applied the kitsch-spiritualism of Madame Blavatsky to

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Lawrence Weiner and Joseph Kosuth were making pieces in which words were as important as objects); the Arte Povera movement in Italy, which was turning everyday objects into art; and the anti-commercial, anti-art Fluxus movement in Germany, whose stars were the provocative performance and Happening artists Joseph Beuys, Charlotte Moorman, and Nam

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