New York

Richard Nonas

112 Greene Street

The difficulty in Richard Nonas’ work at 112 Greene Street is in not thinking of Carl Andre’s early work, especially the wooden pieces stacked in various ways, and Nonas seems to be after the same physical “thereness.” Nonas’ works tend to stay simpler than some of Andre’s similar works, which at times and within a narrow context, became somewhat Baroque. There are 13 works on the floor of the gallery, and most of them have the same general arrangements of lumber, the size of which varies with different works. Two pieces of lumber of the same size are placed on the floor parallel to each other; on top of these, two other pieces of lumber of equal size (but not necessarily the same size as the bottom pieces) are laid parallel to each other and perpendicular to the lumber below. In some of the works, a notch is cut at the intersection of two pieces causing the lumber on top to tilt. Here, except for the comparison with similar works without the tilt, it almost seems that Nonas is going against Andre’s dictum of not cutting the wood which is already a cut. Nonas seems interested in the physical relations between things, one thing next to another, or one thing on top of another, or three planks lying flat next to each other while a fourth next to them is on its side. There are also wooden shelflike box constructions on the wall, many of them “in perspective” like some of Judd’s wooden boxes; but these become more interesting when considered in terms of Les Levine’s windows. But generally, I get the feeling that either I’ve missed something, or I’ve been here before.

––Bruce Boice