new-york

Lucio Fontana

Alexander Iolas Gallery

At a time when a reinterpretation of Abstract Expressionism seems both necessary and feasible, it’s especially good to have access to previously unexhibited work by Lucio Fontana, whose career in some ways paralleled that of postwar American painting. Rosalind Krauss has indicated that what needs to be considered is Abstract Expressionism’s internalization of the Surrealist idea of “content.” I’d extrapolate that what’s in question is the extent to which the Americans retained Surrealism’s preoccupation with the erotic as a subversion of the erotic. A well-known reading—William Rubin’s—seems to say that the eroticism of Surrealist terminology—a prime example of which would be automatism—became deemphasized in an American art that was, because of that, able to reconnect with the larger tradition which Surrealism itself had originally sought to oppose. A wide variety of recent art—Snyder’s,

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