TABLE OF CONTENTS

PRINT December 2002

Lisa Liebmann

LISA LIEBMANN

1 “La Révolution surréaliste” (Centre Georges Pompidou, Paris) Werner Spies’s grand summation, abloom in the midst of a too Surreal season, was nevertheless the visual dazzler of the year. A pull-out-all-the-stops case was made for the prodigality of Max Ernst. Often dismissed as an art-school heartthrob, Ernst (paintings, sculptures, collages, frottages, etc.) withstood onslaughts from the heaviest hitters here, including the Spaniards. Among rarities on view was his Histoire naturelle, 1923, a mural surprisingly like Francesco Clemente’s early-’80s frescos, which was transferred from the walls of Paul Eluard’s Paris house to canvas. A smaller, more piquant case was made for Dalí as visionary political painter, with the Great Masturbator weighing in on Lenin, Franco, and Hitler.

2 Gerhard Richter (Museum of Modern Art, New York) Richter’s paintings, according to critic Diedrich

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