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PRINT April 1995

Golf War

IT’S HARD TO BELIEVE, after knowing Ray Johnson for twenty-five years, that I’ll never again receive something in the mail to add to and send on to someone else, or hear his voice on the phone asking me some trivia question about a marginal movie star.

In 1991, at the Museum of Modern Art in New York, I curated a show of portraits culled from the museum’s collection. In one of my regular telephone conversations with Ray I said I was sorry MoMA didn’t own one of his portraits because I would love to put one in the exhibition. We talked about getting a collector who owned one of his pieces to give it to the Modern, or about him donating a piece himself, but he very much disliked being Judged by curators (or for that matter by anyone else) and didn’t welcome the possibility of being rejected. So, In typical Ray Johnson fashion, he found a circuitous, slightly subversive role into MoMA’s

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