In the past, art was recognized solely on the basis of an idea of beauty. The reputation of the artist was directly related to the expression of the real world through certain social dynamics and predominantly traditional artistic practices. Arguing that art cannot be read within the framework of these criteria, artists have replaced the flawlessly handcrafted detail work with objects of everyday use. Therefore, beyond the physical and material contours of ready-made objects, the artists built a substructure that possesses all the morphological qualities required to be considered an art object. Thus, the readymade object has gone beyond its own physical contours through a network of interrelationships and connections with other material entities. However, the fact that objects of everyday use are considered to be works of art is often mistaken for technical imperfection and lack of skill, along with an attitude of cynicism. In this context, this article first considers the beyond of the object, starting from the fact that the work of art is informed by thought. Secondly, the article discusses the issue through examples, centering on the problem that the object, which has been subjected to critical and public opposition, cannot be read as a closed system.

Object, work of art, flaw, meaning.