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1. Artists should operate at the extreme frontier of ideas.
2. Artists must respond to ideas emerging from science, technology, philosophy and to wider social change.
3. Artists should be concerned with the global history of art, not just its recent past or local context.
4. The economic imperatives of the art market and the cultural imperatives of the art institutions are acknowledged, but not prioritised.
5. It is recognised that the art of tomorrow will appear quite different from that of today, and will require different kinds of understanding.
6. Art cannot be understood or appreciated without the application of knowledge, thought and effort; but if applied these should be rewarded.
7. Making art transforms materials that in turn have the potential to transform human thought and experience. Art does change the world.
8. To be avoided as ‘thin’ art: that which perpetuates the routine orthodoxies of current art practice; the sterility of art that refers exclusively to its own modes of production; work that is parasitic on art’s historic reputation for profundity without making any significant contribution of its own; work that is readily assimilated into the contemporary art establishment because that is its sole ambition; work that is over-reliant on the apparatus of art institutions for its existence and validation.
9. Artworks should be complex in resonance and compelling in execution, profoundly disruptive rather than superficially shocking, and if beautiful then also not.
10. The primary significance of art lies in the intent and activity of the artist, of which the artwork is only the echo.
11. Artists should pioneer the novel synthesis of the improbable.
12. Art should extend human thought and experience beyond what is conceivable.
