TABLE OF CONTENTS

THE DARK SIDE OF THE BRIGHT LIGHT

Artforum has always acknowledged the seminal role of artists who are also critics. We are fully confident of Mr. Lawson’s position within this tradition. Because such a position can be complex, it must be noted that several of the artists illustrated here exhibit with the same gallery as Mr. Lawson.

—Eds., (Artforum, October 1981)

THE QUESTION STILL NAGS. Why did the editors find it necessary to tag that little caveat onto the end of my last essay? It is not as though Artforum is a stranger to polemics; after all, its reputation as the most vital of American art journals is grounded in its history of publishing texts by artists attempting to locate the meaning of what they do within a critical framework. Indeed, I would argue that Artforum’s brief history, since its beginnings in the early ’60s, has mapped the complex intertwinings of an art practice caught on the watershed of a momentous

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