Larys Frogier obtained his master's degree in art history from the University of Rennes 2 in 1991 with a thesis titled The Notion of Temporality in Art Criticism of the 1970s and 1980s. Under the supervision of Jean-Marc Poinsot, Research Director at the INHA - National Institutte of Art History - and Professor Emeritus at Rennes, this research analyzed the concept of temporality within the theoretical writings of key figures from that period, notably Yve-Alain Bois, Benjamin Buchloh, Douglas Crimp, Thierry De Duve, Hal Foster, Clement Greenberg, Rosalind Krauss, and Craig Owens.

This work focused on two complementary areas: the concept of temporality in art criticism during the 1970s and 1980s, and cultural activism in American art of the 1980s. These two aspects are inseparable: the question of time in criticism is inextricably linked to the political engagement of the artists and critics of that period. The period under study represents a major shift in art theory: moving beyond Greenbergian formalismand his insistence on the artwork's "autonomy" give way to a form of criticism that reintegrates social, political, and institutional contexts.The seminal 1977 exhibition Pictures Generation (MoMA, 1977) marks the transition from a critique of modernity to a critique of postmodernity. Writings by Rosalind Krauss, Hal Foster, Craig Owens, and Benjamin Buchloh redefine the categories of analysis.

The central issue i Frogier research is the relationship between the artwork and its time. Criticism from the 1970s and 1980s rejects the notion of a "timeless" work in favor of historicity: the artwork is conceived as a situated event—an act occurring in time—rather than as a static object.