Something that tends to get lost in art historical writing is the situation of the analysis. Maybe one should not go so far as to add your playlist on Spotify as an appendix, even though it might have some influence on your work (I am listening  NINs "Hestitation mark" right now in case you are wondering). The reasons why the situation is left out can be many, not least traditions of academic writing or the fact that you tend to revisit the place of an art work at many occasions. Literature historian bell hooks was the first author I read that included situations of her writing in the texts as an experiment (Now a heavy noise of drilling in concrete drowns my thoughts and NINs music). But also an art historian, T. J. Clark have tried to use the situation as a method in his study on Poussin, The sight of death (2006). He found that his daily journal was more exiting and enlightening of the process of analysis than the more conventional academic prose. In this book one can read of different light conditions due to the weather, how he experiences the art work in the solitariness of a closed museum, when he is disturbed by "the sounds of squeeking Nikes" of a school class and of how the postcard reproductions on his desk finally solves an enigma. I am not sure how this kind of study can give new knowledge of the art of Poussin, I do not have the required competence of the artist to be able to judge that, but it does reveal the complex and sometimes contradictory processes of an art analysis. I have tried to include aspects of situations in texts on methods and academic writing, as illustrations of what can happen with an analysis under different circumstances. Still I have to find ways of illuminating the situation more in my work, because it is a vital part of the experience of art that has impact on your analysis. Just think of how an exhibition can be more interesting if you have a friend along to discuss the art with. (Now the drilling has stopped and piece has returned to my office).