Repetition is not about reproducing the same but about producing something new through difference.

(Gilles Deleuze, Différence et répétition, 1968)

Difference does not arise from the contrast between the identical and the opposite, but from the depth that emerges in the act of repetition. In that space where repetition reveals the hidden, where insistence displaces the obvious, lies the core of Elaine Sturtevant’s work (1924, Lakewood, Ohio – 2014, Paris). Her radical practice does not seek to imitate or reproduce but to question. By repeating iconic works of her contemporaries, Sturtevant conducts a conceptual analysis that transforms notions of originality and authorship, demonstrating that creation does not reside in pure invention but in the ability to dismantle the systems that assign meaning and value to art.

At the core of Sturtevant’s practice lies a profound engagement with power: how it operates, how it is observed, and how it is internalized. Her work resonates with Michel Foucault’s (1926, Poitiers – 1984, Paris) theories on systems of control, particularly his concept of the panopticon. Much like Foucault’s model, Sturtevant’s works place both the creator and the viewer within a dynamic of observation and complicity. Study for Warhol’s Marilyn (1973) positions the viewer in a space where their own acts of perception become the subject of analysis, transforming the act of looking into an exercise in critical self-awareness. By exposing the structures that regulate how art is perceived and valued, Sturtevant destabilizes the passive role of the observer, revealing the invisible forces that shape meaning and cultural value in the art world.

Gilles Deleuze (1925–1995, Paris), in his work Difference and repetition (1968), argues that the “new” does not arise from the repetition of the same but from the affirmation of difference inherent in the act of repeating. Sturtevant’s repetitions, following this line of thought, diverge entirely from imitation or appropriation to become deliberate conceptual interventions that expose the mechanics through which meaning is constructed in art and culture. Works such as Warhol black Marilyn (2004) and Duchamp 1,200 coal bags (1973–2008) challenge the sanctity of the “original,” revealing it as a dynamic construct shaped by cultural, institutional, and market forces. Similarly, pieces like Johns flag (1970) and González-Torres’ untitled (America) (2004) function not as mere visual echoes of their references but as conceptual provocations that directly interrogate hierarchies of authorship and the symbolic weight attributed to iconic cultural objects. In each of these repetitions, Sturtevant invites the viewer to reconsider the structures that perpetuate the notion of singularity in art, dismantling the power dynamics that sustain such narratives.

Sturtevant’s trajectory began in the 1960s in the New York art scene of Andy Warhol (1928, Pittsburgh – 1987, New York) and Robert Rauschenberg (1925, Texas – 2008, Florida). During this period, Sturtevant directly asked Warhol for the silk screens from his famous Marilyn Monroe series. Known for his nonchalant attitude toward authorship, Warhol agreed without hesitation. Years later, when asked about the details of these iconic paintings, Warhol famously replied, “Ask Sturtevant.” Warhol’s gesture in handing over the silk screens reflects his own skepticism toward the notion of the artist-genius but also highlights Sturtevant’s audacity in directly appropriating the tools of pop art production to create her own critical commentary. This implicit collaboration between the two artists encapsulates the tension between originality, authorship, and repetition, positioning Sturtevant as a key figure in the development of conceptual art.

During the 1960s, Sturtevant repeated works by several of her contemporaries, including James Rosenquist (1933, North Dakota – 2017, New York), Jasper Johns (1930, Georgia), Frank Stella (1936, Malden – 2024, West Village), and Claes Oldenburg (1929, Stockholm – 2022, New York). The latter, however, publicly expressed his irritation when Sturtevant replicated his installation The Store (1961–1962) in 1967, a piece that simulated a shop filled with oversized everyday objects made of fabric, such as hamburgers and ice creams. Sturtevant went beyond traditional notions of authorship, exposing the inherent tensions in artistic creation and challenging the value assigned to the “original.”

In the 1970s, Sturtevant temporarily stepped away from the art world, dedicating herself to activities such as tennis, which she described as a conceptual exercise—a way to explore repetition and precision outside the artistic sphere. Her return at the end of the decade, with works like Various Beuys actions (1977), marked a turning point in her career. This moment coincided with Joseph Beuys’ (1921, Krefeld – 1986, Düsseldorf) first exhibition in the United States, a key context that underscored the relevance of her choice to engage with the work of the German artist. Beuys’ actions and objects, imbued with sociopolitical and spiritual symbolism, provided Sturtevant with fertile ground for critical analysis. In Various Beuys Actions (1977), she replicated key elements of Beuys’ visual and performative language, stripping them of their mystical aura to expose the cultural and ideological structures that underpin their meaning.

One of the most significant developments in Sturtevant’s work starting in the 1990s was the incorporation of video as a critical extension of her artistic practice. Works like Duchamp 1200 coal bags (1973–2008) highlight this shift toward a more explicit exploration of audiovisual media, allowing her to powerfully articulate her critique of originality and authorship. In a society beginning to experience the saturation of reproducible images, video became a key tool for destabilizing the myths surrounding the artists she repeated and for interrogating the power dynamics that shape cultural perception.

In the late 1990s, Elaine Sturtevant began engaging with the works of a new generation of artists, expanding her practice of repetition beyond the icons of 1960s pop and conceptual art. Her focus shifted to figures such as Robert Gober (1954, Connecticut), Anselm Kiefer (1945, Germany), and Félix González-Torres (1957, Cuba – 1996, Miami), among others, whose works are deeply imbued with symbolic, historical, and political significance. This shift in her practice allowed her to address not only questions of authorship and originality but also the cultural dynamics that shape the creation and meaning of contemporary art.

The work Gober partially buried sinks (1997) focuses on the deeply personal and political language of Robert Gober, emphasizing how everyday objects can be transformed into art imbued with meaning. By repeating the partially buried sinks, Sturtevant highlights how individual narratives are absorbed and re-signified by cultural institutions and systems. Her work questions and decontextualizes these elements, exposing the structures that confer value and meaning.

During this period, Sturtevant turned her attention to the works of Félix González-Torres, including González-Torres untitled (Blue placebo) (2004) and González-Torres “untitled” (America) (2004). These pieces took her conceptual practice of repetition to a deeper level, engaging with works laden with emotional and sociopolitical symbolism. In her repetition of Félix González-Torres untitled (America) (1994), Sturtevant removed the original context of the piece as a meditation on the diversity and fragility of American national identity. Instead, she focused on the dynamics of perception and the assignment of meaning within the art system. This shift allowed for a broader reflection on how cultural institutions reconfigure symbols and narratives. Similarly, in her repetition of Untitled (Blue placebo) (1994), a candy carpet originally conceived as a reference to the body’s vulnerability to time and illness, Sturtevant transformed the work into a critical commentary on the displacement and reconfiguration of meaning through decontextualization.

These pieces do not seek to imitate or appropriate the emotional content of the originals but rather question how individual and collective narratives are constructed and circulated within the art world. By repeating these two deeply personal and intimate works by Félix González-Torres, Sturtevant underscores the fragility of the meanings attributed to artistic objects and how they shift when stripped of their biographical or historical framework. Through these repetitions, she expands her critique of authorship and reaffirms the importance of art as a space for dialogue on memory, identity, and perception.

In her later works, Sturtevant expands her inquiries into new forms of mediation and temporal dislocation, as seen in Re-run (2007), a video installation that marks a pivotal moment in her career. This work employs video not only as an extension of her conceptual approach but also as a medium to directly engage with the media and digital culture of the 21st century. In Re-run, the use of the loop as both a formal and conceptual device emphasizes the tensions between the mass production of images and individual perception. By incessantly repeating recognizable elements, Sturtevant reinforces her critique of the systems of power and control inherent in contemporary visual culture. The work highlights the alienation and repetitiveness that define our relationship with images in the digital age, creating a compelling commentary on the pervasive influence of media in shaping our understanding of reality.

The final stage of Sturtevant’s career, particularly from the 2000s onward, was marked by significant recognition that cemented her position as a central figure in the history of conceptual art. In 2011, she was awarded the prestigious Golden Lion for Lifetime Achievement at the Venice Biennale, honoring her extraordinary contributions to the art world. This acknowledgment was followed by major retrospectives, such as Sturtevant: Double Trouble at MoMA in New York and MOCA in Los Angeles in 2014, which provided a comprehensive view of her radical practice and underscored her enduring influence on contemporary conceptual and media art.

Sturtevant’s legacy reverberates as an echo of innovation, demonstrating how repetition can become a disruptive act capable of challenging notions of originality and authorship while destabilizing the cultural structures that sustain artistic value. Her work is not an exercise in imitation but an act of confrontation: a radical exploration of what art can do and mean. By dismantling the foundations of artistic value, Sturtevant leaves behind a practice that compels us to question, critique, and ultimately reimagine the cultural systems we inhabit. Her impact resonates now more powerfully than ever, challenging us to rethink the narratives that shape our understanding of the world.

(Text by Jimena Blázquez Abascal, curator)