New York

Robert Mangold

Fischbach Gallery

Since the mid-’60s, Robert Mangold’s art has been unusually consistent, without the degree of repetition that so much consistency generally implies. Like his paintings, each shift in his progress has been subtle and complex. The early sprayed Masonite panels of the “Area” paintings can be thought of as examples of hard Minimalist facts in which lines were the consequent of the physical limits of surfaces. Or, they can be thought of as logical sets in which the whole for each painting was given and known even when only a fragment of the whole was actually present as the work: Given the existence and nature of the whole, these parts exist. Thinking of them one way does not exclude the other. Probably the biggest jump in Mangòld’s work was the move toward an interest in perspective and illusionism, but even this move was made through the use of the “X” configuration prevalent in the “Area”

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