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Richard Serra and André Cadere

IT WASN’T TOO LONG AGO that this magazine reviewed Richard Serra’s quasi-retrospective exhibition at the Museum of Modern Art in New York [Artforum, October 2007]. It was clear that critic David Joselit was less than enthusiastic. For Joselit, the jump from the post-Minimalist prop pieces on the museum’s sixth floor to Serra’s most recent torqued ellipses on the second meant a calculated leap over the period when Serra’s works were considered “controversial and dangerous.” Joselit compared this elision with the Bush administration’s suppression of the danger and controversy of its ongoing, deeply inequitable, and astoundingly vicious war. Hardly anodyne criticism, and to this reader’s ear it rang true, for Serra’s recent works had left me phenomenologically cold and politically disengaged. In the face of yet another fun-house experience of wild vertigo, I too found myself longing for the

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