New York

Gary Kuehn

This segue is invidious; but insofar as both Urry and Gary Kuehn are sculptors committed to examining the contrast between hard and soft with the same piece, the lead-in is apposite. Kuehn, punching thirty but hardly unknown, is associated with the- Rutgers group from which Keith Sonnier and Robert Morris have emerged. Attracted by the problem of soft-to-hard in sculpture over several years, the earlier work indicated that Kuehn had been trapped by certain a priori conclusions. This scale of malleability had been undermined by the application of a literary idea from the outside. But, even if the earlier fiberglass pieces were sabotaged by an inescapable similarity to ripe cheese melting, they were, in the face of geometric Minimalism, an heroic accomplishment à rebours. In the present work, the soft-hard comparison grows naturally, operatively, functionally out of the demands necessitated

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