Fragments of an unfinished work'.
Works of art are undoubtedly prepared for any eventuality and can respond and conform to more than one theory or even be above and beyond any speculation we might elaborate about them. We can also venture - because of this incomplete nature - that everything produced by artists can be understood as fragments, loose parts or even chapters of a larger whole that should perhaps then be read and interpreted as if it were a 'great novel', since artists' decisions are not constructed and maintained in the same way or under the same circumstances or contexts; and that, above all considerations, any work or group of works will always remain unfinished, for if not, what could be expected of something that no longer admits of change? Would that work or those works be destined to be what the artist wants them to be or what those works themselves claim to be, thus obviating any other interpretative contingency?