This is the second section of Artforum’s coverage of the Documenta 7 exhibition, in which the work of some of the individual artists in the show is discussed. (See Artforum, September 1982, for a review of Documenta’s curatorial approach.) In the November issue, the Venice Biennale will be covered.


    Sol LeWitt seems to be in a period of productive splendor, a period that was trumpeted here by last fall’s high-reverb, triumphant cubes. LeWitt’s site-specific wall drawing for an alcove at Documenta 7 seemed nearly reckless, so thorough was its involvement with the architecture, even that

  • Rose English

    A folding chair on a podium less than a queen-size bed, flanked by a pair of projectors, close but off-podium, one on either side like potted trees. The performer, in a fancy historical courtlike costume, with this wide striped bag for trousers that ends in snug elastics high on her thighs, turns on the projectors, then steps onto the platform and installs herself on the throne. Rose English makes herself comfortable and puts on a long black beard; the projector casts a magnificent shadow of her profile on the wall. Down on the floor in front is a huge trunk with the lid ajar. A traveling king,

  • Carlyle Reedy

    A paper screen faces the audience, about 12 or 15 feet long with a section of reflective Mylar at the far right, and taller than a person standing. On it are a few notes with large-lettered words like “Waitress” or “Laundry.” Along the screen a whole lot of things are piled up; knee-high, hidden under paper, it all looks like a soft bench. Clattering housekeeping noises from a tape continue throughout the performance.

    A woman steps out. She calls herself Odette and says she has been doing her yoga behind the screen. She is a homemaker, most likely. Every now and then she gets carried off the