Frank Stella

There’s a picture Hollis Frampton took in the mid-’60s of me in Rosenquist’s studio sitting in front of Growth Plan—a painting of little kids at camp. I probably first met Jim around the time that photograph was taken. I knew him a little bit, just as I knew all the other artists. The art scene in New York was pretty casual then, and it wasn’t a big deal to visit someone’s studio, whether it was Jasper Johns, Bob Rauschenberg, Larry Poons, or John Chamberlain. It was straightforward: You did occasional studio business, saw the shows, and met after exhibition dinners—a lot of Chinese dinners. Today people may look back at the ’60s and see a division between abstract painting and painters who were doing Pop, but at the time it wasn’t a question of taking sides, because there really weren’t any sides. Everybody was in it together. By and large, the scene, including Minimalists, Pop artists,

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