LARGER-THAN-LIFE PERSONAS. HEATED EXCHANGES. PASSION AND GLAMOUR. AND LET’S NOT FORGET “theatricality.” Even in its day, such qualities made Minimalism seem perfectly suited for the silver screen.

At least that’s the implication of Mel Bochner’s wry Minimal Art—The Movie, 1966. And this spring audiences had the chance to decide for themselves, as major museum exhibitions around the globe gave the movement its biggest screen test to date, revisiting work by figures who—in starring roles or fleeting cameos—were actors in that dramatic historic production. Leading man Donald Judd, for example, received his first major posthumous retrospective, at Tate Modern, while the Solomon R. Guggenheim Museum presented “Singular Forms (Sometimes Repeated): Art from 1951 to the Present,” and the Museum of Contemporary Art in Los Angeles organized “A Minimal Future? Art as Object 1958–1968.” In June, the

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