New York

Edwin Ruda

Paula Cooper Gallery | 529 West 21st Street

How quickly reputations are made and remade. Edwin Ruda, for example, was a ranking figure of geometrically-based Minimalism. In this capacity he contributed not only some of the better work to Lawrence Alloway’s important exhibition, “Systemic Painting” (held at the Guggenheim Museum in 1966) but also some of its tersest and firmest commentary: “. . . simplification is not synonymous with boredom but on the contrary demands visual acuity.” From sharply-angled lozenges set up in cat’s-cradle configurations, Ruda moved into more open sprayed aluminum constructions. This shift was accompanied by a rejection of purely symmetrical necessities although he had earlier made the sibylline observation that, “Right and left symmetry are more opposite than alike.”

In the past eighteen months or so, Ruda entered a period of withdrawal and possibly of hesitation from which he emerged a color field

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