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Cecile Abish

THE WORK OF CECILE ABISH has been harder to see than it should have been. This distribution problem has arisen not only because she has no gallery, but because her works are usually erected on the spot. Like all artists who work on site, the duration of her work is subject to the time span of an exhibition schedule. To this restriction of access can be added the fact that her works have been scattered in both time and space. There was a big sculpture at the Bykert Gallery in 1971, a room-filling conglomerate “made expressly for the 20-by-20-foot space in which it was situated,” to quote the artist. It was a remarkable piece, summarizing many aspects of soft modular sculpture, but all it led to was a small photographic piece at Bykert in a mixed show three years later. She was in “26 Contemporary Women Artists” at the Aldrich Museum in 1971; the catalogue showed a Soft-jointed, ground-hugging

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