**7. Conclusions**

How might an artist negate the e ffect of loss when making artwork as a hologram if this creates a void in representation of intent? Indeed, can the sense of mourning for the experience of the art object represented within the hologram ever be surpassed if its reality can never be revisited? The wonder of the hologram itself can take over, seducing the artist to use it experimentally without possibly realising that its capabilities do not fulfil the remit and intent of the artwork. This is perhaps what led Nauman to make screen prints of the original holograms in *Making Faces*, to continue the trajectory and story of the artwork as if to engage it in a two-step process of evolution. Bourgeois' acts somewhat defeat the objective of the original sculptures. On exhibition, the sculptures are already immobile and secure in their situated physicality, and in compounding this inertia, the hologram deals them a further deathly blow. With the right conditions and circumstances, however, the hologram can exist as a vitally engaging contemporary artwork, but there is a need to consider how it performs in its contemporary existence. In contrast to the work of Bourgeois and Nauman, the di fference lies within its being drawn into the here and now by a re-configuration of its value beyond the magic of its making. The "oohs" an "ahs" need to be ignored to ge<sup>t</sup> to the core of the hologram's possibilities and potential. It can be a part of contemporary practice, but it needs to be treated as a process such as any other and one that is only included in the making of an artwork from the beginning. As a component within an artwork, it can add value: it can aid how the artwork creates and identifies knowledge and the observer's understanding of its intent. Perhaps, science needs to embrace the art, and not vice versa. Then, we might ge<sup>t</sup> somewhere in its progression within the language of art.

**Funding:** This research received no external funding.

**Acknowledgments:** Thank you to Andrew Pepper, who invited me to author this article for this special edition.

**Conflicts of Interest:** The author declares no conflicts of interest.
