Light as Surface: Ralph Humphrey and Dan Christensen

WHAT IF THE “REDUCED” and monochrome surface, a trademark of minimal art by virtue of its tangibility or thingness, is transformed into a fictive, hallucinating facade? We have been so accustomed to a kind of concretion purged of incident in modern art, that our awareness of induced or subliminal sensations given off by the work seems a by-product, or an irrelevant distraction to the central experience. The fact that our physiology involuntarily compels us to receive some measure of nuance even in the most hushed circumstances almost repels or deflects our attention back to the area of conscious will. There, at least, we confront the work head-on, and if we are chastened in the process, our moral sense, our pride in ourselves, is also flattered. For some time now, however, this satisfaction, as criticism is reflecting, has been dissolving before many normatively blank-faced works which

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