TABLE OF CONTENTS

PRINT April 1976

Inside the White Cube, Part II: The Eye and the Spectator

COULDN'T MODERNISM BE TAUGHT TO children as a series of Aesop’s Fables? It would be more memorable than art appreciation. Think of such fables as “Who Killed Illusion?” or “How the Edge Revolted Against the Center.” “The Man Who Violated the Canvas” could follow “Where Did the Frame Go?” It would be easy to draw morals; think of “The vanishing Impasto that soaked away—and then came back and got Fat.” And how would we tell the story of the little Picture Plane that grew up and got so mean? How it evicted everybody, including Father Perspective and Mother Space, who had raised such nice real children? And left behind only this horrid result of an incestuous affair called Abstraction, who looked down on everybody, including—eventually—its buddies, Metaphor and Ambiguity. And how Abstraction and the Picture Plane, thick as thieves, kept booting out a persistent guttersnipe named Collage, who

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