I was reading through ARTFORUM recently when I found myself tangled in the following run-on sentence from Benjamin Buchloh:

Figuration, for Ruscha, has always performed at least two functions: first, to oppose the formalist optimism of the modernists and Minimalists with a cool and sometimes callous reminder of the ramifications of abstraction in a world of advanced forms of consumer culture and its proto-totalitarian administrative corporate order; second, to signal that the triumph of an “abstraction” derived from instrumental reason had culminated in advanced forms of corporate or utilitarian architecture, whose primary consequences had always been the crass destruction of public space and social relations, and which had inevitably resulted in the negative sublime of ecological disaster.

It only took one sentence consisting of eleven lines and fifteen prepositional phrases to make me like Ed Ruscha’s paintings less.