The art historian Rosalind Krauss has often risked a collaged succession of interpretive methods in order to achieve what she considers an appropriate theoretical density. When the approach works, it makes the art that much more difficult to discuss: it raises the level of discourse and puts an end to easier approaches. When it fails, the approach seems to be more a matter of finding erudite connections, and playing with the poetry of unexpected allusions, than of illuminating the artwork. I put it this way because academic art criticism is not necessarily leftist or obscurantist. There are good reasons to doubt the straight-ahead logic of some earlier critical practices, but there are also compelling reasons to be wary of tapestries woven of recondite allusions. They may seem brilliant at the time, but their bright colors fade.
What Happened To Art Criticism by James Elkins, 2003