The following text is from the book Art and Psychoanalysis by Maria Walsh. Does any one have any information about "the disembodied nature of the spectator"? I have not ever heard of it.
Krauss and Bois curated an exhibition in 1997 called L’informe: Mode d’emploi, which grouped artworks into these four vectors. They saw this show as being counter to the fashion for bodily fluids and other objects of disgust that were raging in so-called abject art. While Krauss and Bois could be seen as repressing the fleshy body yet again, as well as being accused of dressing up Modernism in the latest trend, the point of their alternative to the dominant trajectory of abject art is to continue the critique of the disembodied nature of the spectator that began with enlightenment modernity in the late seventeenth century and became elevated in the height of Modernism’s idolisation of pure objectivity. So in a positive sense they can be seen as inserting the operation of abjection back into art history rather than illustrating abjection by reifying it in bodily substances and essences, the latter of which dangerously harks back to a naturalistic conception of the body outside history and social change.