‘Fragments of an unfinished work’
Works of art are, without a doubt, prepared for any eventuality and can respond to and adapt to more than one theory or even be above any speculation that we can elaborate on them. We can also venture—due to this incomplete nature—that everything that artists produce can be understood as fragments, loose parts or even chapters of a larger whole that perhaps should be read and interpreted as if it were a 'great novel', since the decisions of artists are not constructed or maintained in the same way or under the same circumstances or contexts; and that, above any consideration, every work or set of works will always remain in a sort of unfinished state, because if it were not so, what could be expected of something that no longer admits change? Would that work or works be destined to be what the artist wants it to be or what those works themselves say they are, thus obviating any other interpretative contingency?