I should have been taking pictures the last two times I was in a gallery with the "inspiration/meaning" quotes but alas. There's far too many images available that meet the criteria on some level. Found these with a few clicks.
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Something approximating a perfect form could appear in a variety of ways and not be "pure structure", in the way I would think of structure. Pure structure sounds like a perfectly rendered cylinder re: a column. On the other hand there are approximations towards perfection of the form of the column which do not attempt to be pure cylinders.
Nihilistic elimination I mean in the rather direct translation of "meaningless death". Art which is at home with the spectacle of a holocaust/genocide.
The third piece here is Banksy's
Whitewashing Lascaux, and it's highly conscious about form and history. I mean come on, it's a work of street art incorporating cave art--the oldest art we know of, which also happens to be akin to street art! Street art is an incorporative and accumulative medium, much like cave art was (i.e. it painted over itself); but Banksy is also aware of the fact that modern traditions paint over and obscure older ones. I think there's also an analogous commentary going on here about the ways that modernization erases, sterilizes, and homogenizes older traditions. Banksy is acknowledging street art's place in the lineage going back to cave art, but also acknowledging that he's covering up the past, so to speak. The piece is caught between these two poles and reflecting on that conflict.
Formal and historical considerations aside, though, it's a very well-made and practiced piece. It looks fantastic.
The architectural one might be unpleasant to look at. I often find such juxtapositions quite jarring and bit heavy-handed; but you can't say it's inconsiderate of form. Architectural pieces are by definition concerned with form. Buildings have to stay standing. You could say that it courts disorder through form; but it's still engaged with the dynamic between formal order and disorder, in that respect. And like Banksy's piece, it's conscious of historical traditions.
The other two are nothing special, and might speak to your claim--but I do find something pretty funny about reversing the "animal-head-mounted-on-a-wall" trope.
Overall, I don't think all of these are convincing examples of your thesis. I also don't see how they're "at home with the spectacle of genocide." That just seems like a provocation lacking in substance and evidence.
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I didn't read the full quote or anything, but imaging phrasing the physical manifestion of racism this poorly
I imagine he's referring to highways that were purposefully built through black neighborhoods.
To outsiders, though, the 15th Ward was the scene of abject poverty close to two of Syracuse’s biggest draws—the university and downtown. They worried about race riots because so many people were crowded into the neighborhood and prevented from going anywhere else. They decided that the best plan would be to tear down the 15th Ward and replace it with an elevated freeway.
The completion of the highway, I-81, which ran through the urban center, had the same effect it has had in almost all cities that put interstates through their hearts. It decimated a close-knit African American community. And when the displaced residents from the 15th Ward moved to other city neighborhoods, the white residents fled. It was easy to move. There was a beautiful new highway that helped their escape.
https://www.theatlantic.com/business/archive/2016/03/role-of-highways-in-american-poverty/474282/
