8.
It is through the lens of communication, as the antithesis of modernist painting (or Art with a capital A), that one can see how profoundly the practice of painting was transformed in the sixties, tending toward communicability (and reproducibility) through an expanding sensorium while increasingly courting a kind of negation or non-communicability that was the "ruin" of the autonomous work of art.

Given the currency of multimedia and communication theory in the sixties . . .