PRINT Summer 1994

David Rabinowitch

FROM THE EARLY '70S ON, Don and I engaged In extended conversations, mostly about our earlier work of the ’60s—his stacks and progressions, my fluid sheet pieces, wood pieces, “Phantoms.” Don referred to my way of working as “compressed programs”; my description of his way of working was “a detached evolution.”

One topic we came back to time and again was the problematic of internal and external relations: defining both sets, laying out their respective roles and importance to particular works.

We both felt the need to limit our talk to things that could be spoken of. We agreed that an achieved thing was in essential respects outside the purview of language and that in fact the stronger a work the greater would be the sense of its vulnerability to language. Frequently we spoke of the necessity for a work to maintain “silence” in the face of speech, but we differed on how this was to be

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