new-york

Bill Bollinger

O.K. Harris Gallery

Bill Bollinger is difficult, not because the present work is so especially hard but because of the intractability of his formal evolution (an evolution which has characterized much of the post-Minimalist inflection). Throughout his work Bollinger has been attracted by an acute format—very long as against very narrow. This was as true of the extruded aluminum channels with which he emerged into public consciousness in 1966 as it is in the present. The new work, raw wood variations on five foot modules—generally composed of elements that are fifteen feet long—present simple boardwalk-like structures. These structures in turn have been subject either to aleatory displacements, constructivist interlatching of a Cubist planar comparison, or conceptualized fundamentalist presentations. Certainly these three modes are clearly in evidence in the present exhibition, a kind of casebook of post-Minimalist

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