The Whitney Annual, Part II

THE ENTHUSIASM WITH WHICH New York museums supported contemporary art during the ’60s met with a certain amount of resentment. This was vaguely expressed in Gene Baro’s review of the Museum of Modern Art’s “Americans 1963.” He complained of the “mystification or obscurantism” of curators and other “experts” bent on imposing their “backroom knowledge.”1 By 1969 it was possible for “Henry’s Show” at the Metropolitan (“New York Painting and Sculpture: 1940-1970”) to inspire a small, but quite specifically directed, literature of resentment.2 The emotion is transformed in Robert PincusWitten’s review of last year’s “Structure of Color,” selected for the Whitney by Marcia Tucker. After putting his well-taken objections to her esthetic criteria, Pincus-Witten speculates — with what I think it’s correct to say is a feeling of genuine outrage — that they owe their muddiness to Tucker’s “allegiances

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