that one of these moments occurred, at least for our modern sensibilities, with the work of robert rauschenbergnd jasper johns. this is a rauschenberg called trophy iii. what rauschenberg does is to insist that the surface of the canvas is no longer a window into which we look or through which we look, a window that opens onto another world as say, this little porthole that i'm looking through that opens onto the skyline of new york. i can see the empire state building through it. rather, what we have is the surface of the canvas as a horizontal field, like a desk top, like the working surface of somebody's studio or somebody's writing table, onto which junk is piled-- mail, post cards, posters, advertisements, records, magazines, newspapers-- a kind of tremendous clutter of banal experience that interpolates even great art into that clutter, as here in rauschenberg's small rebus. rauschenberg went on to build a wall of information by silk-screening photographic images onto canvas, as in this work called port arthur, texas. the result is that everything here is homogenized in the uniform surfac