- The danger of stylised form, which either comes into the world stillborn, or else, too ill to live, quickly dies.
- The danger of ornamental form, the form belonging mainly to external beauty, which can be, and as a rule is, outwardly expressive and inwardly expressionless.
- The danger of experimental form, which comes into being by means of experimentation, ie, completely without intuition, possessing, like every form, a certain inner sound, but one that deceitfully simulates internal necessity.
From 'The Cologne Lecture 1914' in "Art in Theory 1919-1990"; Charles Harrison and Paul Wood (ed)
I've posted this as a follow up to my earlier post about Rothko. It seems to tie in - especially 2 - with my concerns in that post about abstraction as mere pattern.