PRINT March 2002




To the Editor:

David Joselit’s review of “Into the Light: The Projected Image in American Art 1964-1977” [Focus, January 2002] is so off the mark in some of its statements regarding the purpose and content of the exhibition that, as its curator, I feel moved to respond. Joselit’s critique concerns the success or failure of what he claims to be the making of a “history of media art.” As both the exhibition wall texts and catalogue essays clearly state, “Into the Light” is precisely not a historical survey of “media art.” It has been curated in deliberate opposition to that anachronistic concept, making instead a specific curatorial argument regarding the projected image’s role in the process-based artmaking of ’60s and ’70s post-Minimalism, with particular reference to new definitions of physical and psychological space.

Joselit’s failure to address this central argument is

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