A gigantic, engine-driven factory, has filled the space of an institution dedicated to contemporary art. Why does it have to be a factory? Why put a great deal of effort into building an object and setting it in motion, when the suggestion of it being a site of production lies in its name and form only? Is this not taking things to extremes? If there is intention behind an artistic project, how can we accept the idea that the artists undertook such arduous effort intentionally, knowing it was utterly pointless? Even if we put up with the artists’ apparently vain and exaggerated gesture, we are still left with the inconvenient title. We cannot avoid the question; why is it that this factory is created today? Don’t we live in a postindustrial world where the service sector dominates over the production of goods, and the Futurists’ tremendous admiration for the era of machines sounds ridiculous? As the industrial era passed, the Modernist spectres of social class, as well as the never-ending struggle between them, also came to an end. We live in a society of equals and the Postmodern haze of values has given us the sort of freedom for which we were never quite ready before. The factory is thus a symbol of that ideological epoch where industrial progress meant the advance of global economics and the wealth of nations (…).

Daniel Muzyczuk, The Subject and the Object of Production and Idleness