• Jay Willis, Don Karwelis, Gary Lloyd

    Brand Library Art Center

    History, even that tiny, useless corner called art history, repeats itself exactly; what wasn’t thinkable in theory yesterday is available today, but what is theoretically feasible today may be ineffective, boring, insincere, and, in the worst sense, academic tomorrow. I am not talking just about object art becoming soporific tomorrow—it may well have happened yesterday—but I am talking about the whole business of modernist “progress,” the whole assumed chain of constant revolutionary betterment through radical treatment of “issues” (figurative yields to brushy-abstract yields to clean abstract

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  • Greg Card

    Cirrus Gallery

    Greg Card’s three large light pieces on the walls of the Cirrus Gallery constitute the best show. The works, relating very much to more traditional visual art in their framing and scale, are constructed with elegant graphs of string about 1/4'' off the wall, and lighted with two colored lights apiece from the overhead beams; the resultant tracery gives, up close, a triad of linear design—the colored string and the two hued shadows—and, further away, a dizzying but controlled sense of very, very deep space. (I don’t imply that “space” means serious art, just that the effect is arresting.) Card

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  • Eleanor Antin

    Orlando Gallery

    The only true conceptual exhibition is Eleanor Antin’s at Orlando. According to Lizzie Borden’s concise and workable definitions in “Three Modes of Conceptual Art,” Artforum, June, 1972, Antin practices the least radical: “actions performed in the past and documented in the present through the use of photographs, lists, notes, blueprints, etc.” The actions in this show are: 1) “a strict regimen of diet and exercise” resulting in the loss of nine pounds in thirty days—documented by 120 photographs, four views a day, of Antin in the nude; 2) a face-cleansing and make-up session—documented by a

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