New York

Daniel Buren

John Weber Gallery

Daniel Buren’s work is political in that it openly embraces—and is in this sense fundamentally about—self-contradiction, and is ideological in its commitment to anonymity. Buren, like Duchamp but at the same time utterly unlike him, is engaged in part in an exposure of the museum that has the form of paradox, insofar as both Buren’s and Duchamp’s prominence derives from an assault on “uniqueness” as a guide to “value.” To me at least—and perhaps only temporarily—Buren’s thinking seems at the moment to be more to the point than Duchamp’s, because where Duchamp is concerned with a private, hermetic language, which can make a Readymade stand—at least for part of the time—for the voice of an individual psychology, Buren is not. Buren is topical because of the Maoist affinities of his thinking, which, like Maoism, suggests that individualism is out-of-date. His importance is confirmed by the

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