TABLE OF CONTENTS

Robert Gober

IN MY LAST YEAR IN COLLEGE I STARTED PAINTING REALISTICALLY, partly, I think, because Minimal art was being well-meaningly shoved down my throat. Yet when I graduated and moved to New York in 1976 and saw these works in person, and in the time that they were being made as opposed to in reproduction or theory, I was pretty impressed. Minimalism might be more associated with the ’60s, but the presence and integrity of the work was little changed, and most of the artists were still working beautifully. I loved the drama of their sculptures. The way, in the cases of Andre and Judd, they charged the air around them. I was also very interested, and ultimately quite invested, in the differences between their approaches. Although appearing similar, to me they represent two very different histories and ways of making sculpture, which is always, I believe, a way of expressing impressions about your

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