In “A Voyage on the North Sea”: Art in the Age of the Post-Medium Condition, Rosalind Krauss writes about Marcel Broodthaers, James Coleman, and William Kentridge because, as she notes, these artists have decided not to follow the international fashion of installation and intermedia work in which “art essentially finds itself complicit with a globalization of the image in the service of capital.”Rosalind Krauss, “A Voyage on the North Sea”: Art in the Age of the Post-Medium Condition (London: Thames & Hudson, 1999), 56. Neither have they retreated into the etiolated forms of traditional mediums, such as painting and sculpture. Rather, their recent works have embraced the idea of differential specificity, in which a medium itself is reinvented and rearticulated.