New York

Carl Andre

John Weber Gallery

Carl Andre’s new work, as one might expect, illustrates the problem contained in the repetition of an idea. Andre’s prominence has come from his identification of sculpture with the ground plane, which—as he made sculpture become an interaction between a specific materiality and an undifferentiated, though not unconsidered real space—has put him in a position possibly analogous to Barnett Newman’s some time ago. Andre is now, perhaps, confronted with the problem of maintaining a position based on an ultimate reduction. One problem with his new sculpture is that what Andre’s work proposes as a phenomenological reduction of the experience of sculpture to its essential condition has for other artists—Serra foremost among them—been a starting point rather than an end. Andre’s is a juxtaposition of signifier and signified that concentrates on the distinction between the two through materiality,

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