PRINT April 1988


OPTIMALLY, ALL WORKS OF art are experienced repeatedly. In reality, none are seen more frequently than those in the public arena, which are alternately appreciated, disliked, and/or endured by an audience that often is not a voluntary one. The Modern work of art in the street, park, or square is in a sense an oddity, for the esthetic vocabulary it at least attempts to insert into its context may not be familiar to many of its viewers. Outside the protective walls of the artist’s studio, the museum, the gallery, or the collector’s home, art is revealed daily to a large audience that as often as not looks at it without the benefit of knowing the critical dialogue about it or its conceptual context and history. It receives an entirely different kind of scrutiny (or indifference) from art elsewhere, and its success may depend, at least in part, on the artist’s ability to come to terms with

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