L. R. Lippard

  • New York

    With the waning interest in gesture, deep space, complex form and impasto, and with the increasing extension of possible media, art is becoming more extrovert. There is a growing tendency, even in “straight painting” exhibitions, to surround the spectator, whose increased physical participation, or immediate sensorial reactions to the work of art, often operate at the expense of the more profound emotional involvements demanded by New York School painting in the fifties. In the broadest sense, the five exhibitions discussed below could all be called “environmental.”

    There are two basic categories