TABLE OF CONTENTS

Catherine Wood

CATHERINE WOOD

1 “Lynda Benglis/Robert Morris: 1973–74” (Susan Inglett Gallery, New York) Like me, you may have long been fascinated by the two images at the center of this show: Morris with pumped muscles, in a helmet and chains—performing the rhetoric of masculine labor at play in his minimal constructions—and Benglis in sunglasses, with a dildo made from the same latex as her anti-form works. But as the ephemera, photographs, drawings, and sculptures brought together by David Platzker (of the curatorial-archival initiative Specific Object) made clear, there was much more to this publicity duel than two outrageously inflated portraits of the artists. (Interested parties should seek out Julia Bryan-Wilson’s elaboration of Morris’s performative plays on gender and artistic labor in Art Bulletin, June 2007.) Before the Pictures generation, before Jeff Koons’s “Banality” ads,

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