from The New York Times
The Dark Side of Success
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An interesting take on the collecting Minimalist art with reference to Dan Flavin's famed works using common fluorescent light-tubes and off-the shelf components. Contrasting 2 divergent attitudes of the artist and the collector:

In a 1982 interview, he [the artist] declared, "I believe in temporary art wholeheartedly." To another interviewer, he said, "These 'monuments' only survive as long as the light system is useful, 2,100 hours." Yet here they were, being pored over and coddled, praised for their authentic patinas, and lovingly restored, like rare old Baltimore silver

How does one collect a piece of temporary art, let alone preserve it? Not especially helpful when the artist would contradict himself as such:

"One has no choice but to accept the fact of temporary art. Permanence just defies everything. I used to say that I did my certificates on a pulp paper because therefore I knew they would disintegrate. I would like to leave a will and testament to declare everything void at my death, and it's not unrealistic. I mean it, because only I know the work as it ought to be. All posthumous interpretations are less. I know this. So I would rather see it all disappear into the wind. Take it all away. It's electric current with a switch - dubious." Of course, in the 14 years after he said that, Flavin worked - often with Dia [Art Foundation] - to ensure that his art and legacy would continue into the future.