PRINT Summer 1964


IN 1961, THE MUSEUM OF MODERN ART mounted an exhibition entitled “The Art of Assemblage” that included 140 artists while not even attempting to be really comprehensive. The art of assemblage had proven a tremendously popular concern among artists of our century, mushrooming, as the exhibition showed, in a completely unpredictable manner from the tentative collages of cubism.

As a major force, though, it gained its real momentum in the years following World War II, through a combination of cultural circumstances including the development of a number of new synthetic materials that were capable of broadening the possibilities of using discarded materials, and the great postwar-cold-war abundance of discarded goods replete with the mystique of built-in obsolescence. In addition, in the mid-1950s, the need arose in a large number of young artists to break away from the powerful international

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