Piet Mondrian


    GOOD ART MAKES THE WHOLE WORLD, and everything in it, into art. When you leave a gallery and can’t tell whether the piles of traffic cones outside are a streetwork or not, then the show inside must have been a “good” one. However, this porosity of art boundaries can be a problem, especially for the artists. They’re urged by everyday proximity to and belief in art (at least in their own art) to artify everything within their ken. Think of thousands of Blanche Duboises encircled by a galaxy of bare bulbs. So a few have decided to make the most of this involuntary tendency and work the space around

  • Head Rooms

    HIS ART GAVE him the reputation of being an austere man, his embellishments limited to the realm of jazz. And yes, his midtown Manhattan white-wall studio would be termed “neat,” all sides at right angles or parallel—except for the inevitable circle of the table clock. So is it impossible to imagine, looking back to Rietveld and De Stijl and ahead to Yves Saint Laurent and museum-shop earrings, that Mondrian used his saturated rectangles for . . . decoration? Only if we first reexamine the concept of decoration. And then, when pushed up against these walls, we must also reconsider the artist’s