PRINT May 1972


GRIDS, WITH MODULES AND SERIES, have become important modes of organization for recent art. One is tempted to talk here of grid structures; but if the word “structures” is to have any precise definition we must distinguish it from things that are more properly frameworks. Grids can constitute structures or can, more often, be simply frameworks. To assume that a linear surface organization when visible in a work of art is its structure is to follow in part the Florentine precept that aspects other than drawing are somehow accessory to the work’s substance. Of course, much 20th-century art demands attention in more or less Florentine terms, and does so because of the enormous significance of Cubism. When Cubism exaggerated contrasts of light and dark it maximized the skeletal aspects of traditional painting and made drawing a central issue for those who followed its lead. Impressionism,

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