PRINT May 1977

Minimalism and Critical Response

SINCE RATHER EARLY ON, Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt and others—together with Robert Morris—were singled out by critics and curators as the chief practitioners of a new mode of three-dimensional art. But as Robert Rosenblum pointed out in Partisan Review last winter, “Time creates sanctity and gravity. . . . Already, many sixties artists have taken on, for me, this classical stature—Dan Flavin, Carl Andre, Don Judd, Robert Morris, Kenneth Noland, among others—which feels more like past than present . . .” Nevertheless, many of the assumptions which were first propounded about the style—or what was commonly claimed, the non-style—of Minimalism (née Cool Art, The Third Stream, Post Geometric Structures, ABC Art, Object Sculpture, Specific Objects, Primary Structures, or Art of the Real) have remained unchallenged for over a decade. The April 1966 opening of the Jewish

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