In a radical restructuring of the traditional artist/viewer relationship, Weiner shifted the responsibility of the work’s realization to its audience, while also redefining standard systems of artistic distribution. A work such as A STAKE SET (1969) can be made or merely spelled out on a museum wall, but it can also be read in a book or heard if uttered aloud. Weiner’s art can literally be disseminated by word of mouth. Much of the early work rehearses simple actions involving basic substances—pouring paint, digging trenches, removing plaster—and, like all subsequent examples, are stated in the past tense to avoid the authoritative tone of a command. Others are more spectacular, involving firecrackers and dynamite.THE RESIDUE OF A FLARE IGNITED UPON A BOUNDARY (1969), a piece that Weiner actually executed in Amsterdam for the Stedelijk Museum’s pivotal 1969 Conceptual art exhibition Op Losse Schroeven: Situaties en Cryptostructuren (Square Pegs in Round Holes: Structures and Cryptostructures), is poetic in its ability to evoke vivid imagery, while at the time suggesting coded systems of communication. Weiner gradually extended his engagement with language to ready-made structures, such as idioms, clichés, and proverbs, which underscore the contingent nature of meaning when encountered in different contexts.