1.   Post constructivist artists have no interest in paradox—because there are no paradoxes. 2.   Manet’s modernist = paradox was the undoing of modernism, because it highlighted a nonexistent subject—to general hilarity. Manet is too Barbizon.        3.   Cézanne’s “petite sensation” is unmotivated. His well-founded anxiety is that his work lacks motivation. There was no solution to a problem he could not locate. Syphilis is no motivator. 4.   Johns represents a design—this is without interest. 5.   Finding the paradox in culture is without interest—what culture? 6.   Of every argument the postconstructivist artist asks, what is its mathematical orientation? This is the era of true discipline in the arts. 7.   Modernism had no beginning, and no end—it is undefined and so was bound to die (not fail), never having lived. 8.   Postmodernism evacuated the subject of paradox but, being ignorant of what it was doing, left no replacement hence no art. Result? A reactionary period which has now lasted nearly 40 years. Postconstructivist artists are tired of this fatigue. 9.   The constructivist enemy’s modernism is an infinite domain, hence undefined. This “domain” has no logical content, and is without interest. It is simply an arena for mischief. We are tired of this mischief. A century and half of trivia, is more than sufficient. 10.   Paradox is the smokescreen of the police state. Every modernist and postmodernist is a little dictator. Down with them. 11.   The postconstructivist artist is not afraid of logical content. 12.   The postconstructivist artist does not intervene to head off anything—the postconstructivist artist is not a maître d’. Manet’s waiter can do just that—go on waiting. Postconstructivist artists have already called for that hats—and departed (left no redress!). 13.   Do paradoxes have rear ends? When you find a paradox, please let me know. You’ll find my address on the calling card I left on that Picasso. 14.   It is too fatiguing to find out just what it was modernists and their hangers-on thought they were doing. Away with them to the basement! 15.   The work of postconstructivism is, getting constructivism out of every field, not just art. Get constructivism out of social policy, out of war! 16.   Postconstructivist artists dig up Cantor’s body, prop it up on a couch (with a lightbulb in its mouth), and put the whole thing in the lobby of the museum of modern art. 17.   Postconstructivist artists have no interest in the idea of art—this is a constructivist construct, and without interest. 18.   Postconstructivist artists have no interest in the idea of the artist—this is a constructivist construct, and without interest. 19.   Postconstructivist artists have no interest in the idea of the work of art—this is a constructivist concept, and without interest. 20.   Postconstructivist artists have no interest in the idea of the art world—this is a constructivist concept, and without interest. 21.   The only language is these principles. 22.   Postconstructivist artists have no interest in the idea of the audience—this is a constructivist concept, and without interest. 23.   Don’t bother trying to find out how modernist and postmodernist artists subliminally or subversively or indirectly or unconsciously fought constructivism—you’ll never see the Barbizon forest for the Barbizon trees. This is a preoccupation of the mentally ill. Let the radioactivity of mediocrity melt down these artists. Let Einstein put a bib on them! Stay away from them! Wear postconstructivist protective clothing! (and avoid commercial space flights if you still want to have children) 24.   Take any proof of the Pythagorean theorem, soak it in bleach, then dry it in the sun. This is your postconstructivist apprenticeship. Do this three times—not thinking of anyone from Japan —and you will feel better. 25.   Postconstructivist artists do this: they 26.   CUT OUT the subject of paradox from art, they 27.   WIPE OFF art the subject of paradox, they 28.   TURN BACK ON ITSELF the subject of paradox, they 29.   BREAK THE SPELL of paradox—they really crack it in two! they 30.   PUT NOTHING THERE to head off a paradoxical “attack.” For those having a morbid concern with such things, paradox is some naked old man lurking in an alley—they are afraid of him!! 31.   Modernism and postmodernism defer, postconstructivist artists attack. 32.   Druidical “paradox” is hocus pocus (aka locus solus). 33.   Postconstructivist artists make all mathematicians clean the latrine—and then make all other academics clean up after the mathematicians. Mathematicians—feeling guilty and that they do need, and indeed feebly desire, this punishment—do not object. They merely find it paradoxical that the other academics have to clean up after, and not before, them. Postconstructivist artists agree. 34.   Postconstructivist artists do not in principle object to a constructivist gulag—as long as it is 600 miles from nowhere. 35.   Postconstructivist artists do allow large groups of constructivists to be shoved into sealed chambers, into which logic is pumped. Postconstructivist artists then observe the results through a little hole in the ceiling. 36.   Modernists grumble, are defensive, and conspire—postconstructivist artists are uninterested in these pathetic feints and dodges. Our works are not cocktail coasters or doilies, or some variant of knitting, or a runestone. 37.   Modernists and postmodernists share one emotion—fear, and probably, pernicious anemia. For postconstructivist artists, there is nothing to be afraid of, nothing to which we need defer, no bogeyman, no need for bourgeois hesitation. We don’t wear gloves, our shoes don’t scrape the ground when we walk. We don’t shrug our shoulders, or peep around corners. 38.   Postconstructivist artists look to expose logical flaws, internal inconsistencies, the lack of logical content. Society cannot exist unless these things are covered up. Postconstructivist artists UNCOVER and REVEAL. They are hated. Picasso said one true thing, “I hope the whole world hates us.”