In a historic passage Mallarmé describes the terror, the sense of sterility, that the poet experiences when he sits down to his desk, confronts the sheet of paper on which his poem is supposed to be composed, and no words come to him. But we might ask, why could not Mallarmé, after an interval of time, have simply got up from his chair and produced the blank sheet of paper as the poem that he sat down to write? Indeed, in support of this, could one imagine anything that was more expressive of, or would be held to exhibit more precisely the poet’s feelings of inner devastation than the virginal paper?
— Richard Wollheim, “Minimal Art,” in Minimal Art, ed. Gregory Battcock, 1968