In hindsight, we were perhaps equally guilty of over-enthusiastic interpretation, of an attempt to compete with the artist. The risk of such an approach is that it begins to turn the book itself into an art object, rather than letting the art speak for itself through the book.
…
An awareness of over-interpretation needn’t imply a kind of unattainable (and undesirable) objectivity, but rather a thoughtfully subjective approach, which does not involve second-guessing the artist. When content and materials are interpreted and combined in a balanced way, the result can be greater than the sum of its parts. A transformation of the given matter through a kind of elegant alchemy, rather than cut-and-paste pastiche.

James Goggin, "The Matta-Clark Complex: Materials, Interpretation and the Designer," in The Form of the Book Book, ed. Sara De Bondt and Fraser Muggeridge (London: The authors and Occasional Papers, 2015), p. 30–31.