It seems fairly clear that this permission (or pressure) to think the expanded field was felt by a number of artists at about the same time, roughly between the years 1968 and 1970... had entered a situation the logical conditions of which can no longer be described as modernist. In order to name this historical rupture and the structural transformation of the cultural field that characterizes it, one must have recourse to another term. The one already in use in other areas of criticism is postmodernism. There seems no reason not to use it.
Gabriel Orozco, Black Kites (1997); Carl Schmitt, The Concept of the Political (1972)
In his essay, Revising Modernism, Representing Postmodernism, Michael Newman notes that, "A definition for postmodernism depends on how modernism is defined. Confusion arises because ‘modernism’ and ‘postmodernism’ are used as both aesthetic categories and terms for cultural phenomena which coincide with epochs of history." Krauss was importing the form of the Klein group diagram from the humanities. Beyond illustrating her immediate argument about art, the diagram indicated, as a theorist, she was concerned with a postmodernism in its broader sense. In his essay Postmodernism And Consumer Society, Fredric R. Jameson explains "the other areas of criticism" Krauss was referring to:
Today, increasingly, we have a kind of writing simply called "theory" which is all or none of those things at once. This new kind of discourse, generally associated with France and so - called French theory, is becoming widespread and marks the end of philosophy as such. Is the work of Michel Foucault, for example, to be called philosophy, history, social theory or political science? It's undecidable, as they say nowadays; and I will suggest that such "theoretical discourse" is also to be numbered among the manifestations of postmodernism.
Fionn Meade was correct to the inadequacy of Krauss's Expanded Field however. At best it is a deeply limited description of "artistic practices" (Krauss's term). That is because while she was she was staking the broadest possible territory for herself as a theorist, she was simultaneously taking aim at a very narrow definition of modernism. She was attacking the modernism of Clement Greenberg, as formulated in his essay Modernist Painting.