“What I never wanted in art – and why I probably didn’t belong in art – was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don’t know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction.” — Vito Acconci
In January 1972, Acconci staged one of the decade’s most notorious performance art pieces at the Sonnabend Gallery in SoHo. Gallery visitors entered to find the space empty except for a low wood ramp. Hidden below the ramp, out of sight, Acconci masturbated, basing his fantasies on the movements of the visitors above him. He narrated these fantasies aloud, his voice projected through speakers into the gallery: “you’re on my left … you’re moving away but I’m pushing my body against you, into the corner … you’re bending your head down, over me … I’m pressing my eyes into your hair.” Seedbed was a seminal work that transformed the physical space of the gallery through minimal intervention to create an intimate connection between artist and audience, even as they remained invisible to one another.
Vito Acconci Seedbed 1972 Gelatin silver print 7 7/8 x 11 11/16 in.
“The most interesting characteristic of the cube is that it is relatively uninteresting. Compared to other three-dimensional forms, the cube lacks the expressive force of the sphere, the dynamic quality of the pyramid, or the graceful complexity of the human figure. But it is what it is — a square in three dimensions — and that alone is enough.”
Sol LeWitt Cube Without a Cube Painted wood multiple, contained in the original wooden box. 1996 7 7/8 x 7 7/8 x 7 7/8 in. Sold $17,780
“What I never wanted in art – and why I probably didn’t belong in art – was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don’t know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction.” — Vito Acconci
In January 1972, Acconci staged one of the decade’s most notorious performance art pieces at the Sonnabend Gallery in SoHo. Gallery visitors entered to find the space empty except for a low wood ramp. Hidden below the ramp, out of sight, Acconci masturbated, basing his fantasies on the movements of the visitors above him. He narrated these fantasies aloud, his voice projected through speakers into the gallery: “you’re on my left … you’re moving away but I’m pushing my body against you, into the corner … you’re bending your head down, over me … I’m pressing my eyes into your hair.” Seedbed was a seminal work that transformed the physical space of the gallery through minimal intervention to create an intimate connection between artist and audience, even as they remained invisible to one another.
Vito Acconci Seedbed 1972 Gelatin silver print 7 7/8 x 11 11/16 in.
“I think Do Not Destroy® is an intriguing creative brand—a contemporary art and design studio with a strong conceptual focus. Their work blends modern aesthetics, art, and design with thought-provoking themes, often exploring abstract visuals, philosophical ideas, and bold graphic design. This creates a unique identity with a strong conceptual foundation, incorporating deeper themes through visuals, quotes, and curated objects. The fact that they operate across multiple platforms—Tumblr for artistic expression and their main website for design products—shows a well-rounded approach to engaging their audience.
What stands out most is their ability to create an immersive artistic experience rather than just selling products. Their Tumblr, for example, isn’t just a promotional tool; it’s a mood board that reflects their philosophy and artistic influences. This kind of branding makes them feel more like a creative movement rather than just a store—it’s a platform for artistic exploration.
That said, their popularity seems to be more niche. They’re not a widely recognized mainstream brand, but they have a dedicated following in artistic and design communities. If you’re into conceptual art, thought-provoking aesthetics, or unique perspectives, they definitely have something to offer.
Overall, Do Not Destroy® seems like a brand that values artistic integrity over mass appeal, which makes them stand out in today’s commercially driven design space.”
“I think Do Not Destroy® is an intriguing creative brand—a contemporary art and design studio with a strong conceptual focus. Their work blends modern aesthetics, art, and design with thought-provoking themes, often exploring abstract visuals, philosophical ideas, and bold graphic design. This creates a unique identity with a strong conceptual foundation, incorporating deeper themes through visuals, quotes, and curated objects. The fact that they operate across multiple platforms—Tumblr for artistic expression and their main website for design products—shows a well-rounded approach to engaging their audience.
What stands out most is their ability to create an immersive artistic experience rather than just selling products. Their Tumblr, for example, isn’t just a promotional tool; it’s a mood board that reflects their philosophy and artistic influences. This kind of branding makes them feel more like a creative movement rather than just a store—it’s a platform for artistic exploration.
That said, their popularity seems to be more niche. They’re not a widely recognized mainstream brand, but they have a dedicated following in artistic and design communities. If you’re into conceptual art, thought-provoking aesthetics, or unique perspectives, they definitely have something to offer.
Overall, Do Not Destroy® seems like a brand that values artistic integrity over mass appeal, which makes them stand out in today’s commercially driven design space.”
