PRINT November 1975




In reference to Max Kozloff’s piece on critics’ abandonment of painting, I think it’s time to admit that painters have some responsibility for that position on the part of critics. It is time to admit that: Sheldon Nodelman and Leo Steinberg are right in stating that objecthood is the fundamental cultural content of ’60s art, that objecthood is an idea better suited to Minimal sculpture than Minimal painting, and that ’60s painting looks best when it comes on like ’60s sculpture.

Stella’s monochromatic shaped canvases with their centers cut out now look like wall versions of floor pieces by Judd, Morris, LeWitt, and Hesse in screen, plastic, and three-dimensional lattices. We forget that the Stellas were probably first, because the idea of an object presenting its geometry so clearly and crisply that it is easy to hold it in mind is an idea much more dramatic when done three-dimensionally.

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