John McCracken

In the mid 1960s John McCracken seemed an interesting figure by virtue of the fact that his beautifully lacquered slabs had so exquisitely united both image and object into a single unit which was neither painting nor sculpture but both. There it remains except for alterations in dimensions and colors—although such changes are always a function of a change in sensibility. The once thin and wide slabs are now taller, narrower and thicker, all crafted and colored in the loveliest hues for which words are no substitute—studied blues, ochres, yellows, browns, whites and blacks—all leaning around the Miesian room conveying an almost painfully chic and hyperesthetic impression which transformed the gallery into a graveyard of extenuated taste.

—Robert Pincus-Witten