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Konrad Fischer/Lueg

ASK ANYBODY ABOUT THE LEGACY of Konrad Fischer’s Düsseldorf gallery and you’ll get a laudatory earful. “He was a genius,” Carl Andre tells me over the phone. “Like one of those great Hollywood producers, Konrad knew how to gather the right people and get them what they needed to do their work. He was a tremendous facilitator.” “If Leo Castelli was running the most important art gallery in New York at the time, Konrad Fischer clearly started up the most important gallery in Europe,” says Marian Goodman. Fischer’s legendary status as a dealer is beyond question. But what of his work as an artist? The exhibition “When I paint my name is Konrad Lueg”—recently on display at New York’s P.S. 1 and the Kunsthalle Bielefeld and traveling soon to the Stedelijk Museum voor Actuele Kunst in Ghent—offers a 151-work survey of the work of Fischer/Lueg, who died in 1996, and gives the viewer a glimpse of

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