or an ingenious representation of the flower girl at Potsdamer Platz not a
trace of the true essence of art no evidence whatever of feeling. Painting
is the dictatorship of a method of representation, the purpose of which is
to depict Mr. Miller, his environment, and his ideas.
The black square on the white field was the first form in which nonob-
jective feeling came to be expressed. The square = feeling, the white
field = the void beyond this feeling.
Yet the general public saw in the nonobjectivity of the representation
the demise of art and
’s dictatorship, whereas Antwerp 1993 had
a more purely artistic emphasis. Certainly, in most cases, the trajectory
was moving towards urban regeneration. Still, there was no single blue-
print of how the European dimension should be filled or the role of plan-
ning and expertise.24
Against this backdrop, much of the approach associated with Glas-
gow 1990 and the Myerscough study were formalised with a Council
Decision in 1999, which turned the ECOC programme into a Community
Action, beginning in 2005, to be managed by the European Commission.
Referring explicitly to the