In Notes on Art as/and Land Reclamation in October Vol. 12 (Spring, 1980) Robert Morris says:

The production of art works in this late industrial age has for the most part been circumscribed and structured by the commodity market. Beyond this, most artistic careers follow the contours of a consumer-oriented market: a style is established within which yearly variations occur. These variations do not threaten the style's identity but change subsequent production enough to make it identifiably new. Such a pattern then comes to be seen as natural and value-free rather than a condition of art distribution and sales. Strictures for change under different social conditions might emphasize disjunctive change, or no change at all.The modes for all change, or nonchange, in production, including art, may be limited to three: static, incremental, and disjunctive.

Beyond this, the mode of art paralleling commodity production with its basic style/yearly variation yields good as well as bad art. While this has proven obviously more economically sound for artists than either the static or disjunctive modes, it is probably safe to say that the disjunctive, when effective, for whatever reasons, has been granted greater cultural value, either in terms of individuals or movements. (