PRINT February 1972

Minneapolis: Burgoyne Diller

THE EXHIBITION OF BURGOYNE DILLER’S work held at the Walker Art Center (which will subsequently travel to the Dallas Museum of Fine Arts and the Pasadena Art Museum) represents an imposing attempt to illuminate the singularly important problem of the relationship of Mondrian to American reductivist abstraction. Burgoyne Diller, by virtue of a fixated extrapolation of the lessons of Mondrian, as well as his close connections to New York art in the 1930s and ’40s, is perhaps the most vital expression we have of a doctrinaire position in the service of de Stijl. What is remarkable is not that a major oeuvre can be shown to derive from such a connection, but more: a production of high stature was realized in the bargain, a stature not usually felt in the presence of the work of other American artists equally associated with the name of Mondrian—such as Ilya Bolotowsky, Fritz Glarner, Harry

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