TABLE OF CONTENTS

A Light Opportunity

TO TELL THE TRUTH, THIS ISSUE BEGAN with editorial discussions about the failure of the recent spate of big international shows to intelligently meet the development of contemporary art, and about their tendency instead to carelessly throw all “the names” together in an expensive but cheap hanging spectacle of so-called international pluralism, willy nilly, irrespective of individual concerns, differences, and achievements. The American shows have failed because of naiveté, superficiality, and too passive a relation to the hypes of the mass media, while the European exhibitions, almost exclusively directed by men, have evidenced a particular brand of politicking and careerism; either way the artists and the perception of the art have suffered. The theory seems to be that as long as these exhibitions have a few Italians, some New York or Los Angeles Americans, a smattering of Germans, the

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