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Philip Guston

Over the past decade, the golden oldies of Abstract Expressionism have made a big comeback. For some time it looked as if successive tidal waves of Pop, Minimalism, Conceptualism, performance, video, and their extended family of neo-this-and-that descendants had swept Pollock, Rothko & Co. once and for all into the hinterland of art history, a distant pantheon of heroic gestures, sublime transcendence, and signature styles. Yet recently these figures have gotten major shows—starting with reassessments of Kline (1994) and Rothko (1996–97) organized by the Menil Collection; de Kooning at the National Gallery of Art; MOMA’s great Pollock retrospective; Rothko (yes, again) at the National Gallery and the Beyeler Foundation; and Still at the Hirshhorn the year before last. Now Michael Auping, chief curator of the Modern Art Museum of Fort Worth, is set to give Philip Guston—the most pungent

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