los-angeles

Richard Serra

Ace Gallery

Knowledge, the existentialists say, is engaged knowledge; our windows to the world, however theoretical, are specific, located points, and everything within our perceptual field, including perception itself, is in situ. When the psychological “set” involves art expectations, the absence of a separate, finished physical object directly increases the importance of the immediate environment—the closing of time, place, other people and operations. Richard Serra’s recent exhibition at Ace Gallery (comprised of a big piece similar to Sawing at PAM and several propped metal sculptures of a type previously and thoroughly covered in these pages) included the showing of four short films which, with one exception, were fine, but which, as a totality, shifted one’s attention radically toward the situation. In Ace’s big cube, the audience (leather-vested glint-eyed boys in cowboy shirts and aviator

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