Aggressive, overbearing and inappropriate for the viewing of most art, the University Art Museum in Berkeley functions in the anti-art architectural tradition of the Guggenheim. The cast concrete, bunkerlike edifice holds six galleries whose bays project over a vast central exhibition hall. Ramps rising upward connect the gallery spaces that surround the central area.

For six consecutive months installations by Daniel Buren, Robert Irwin, Carl Andre and Maria Nordman dominated this museum. Under the direction of Mark Rosenthal, the “Space As Support” program seems very much an attempt at positive

Aggressive, overbearing and inappropriate for the viewing of most art, the University Art Museum in Berkeley functions in the anti-art architectural tradition of the Guggenheim. The cast concrete, bunkerlike edifice holds six galleries whose bays project over a vast central exhibition hall. Ramps rising upward connect the gallery spaces that surround the central area.

For six consecutive months installations by Daniel Buren, Robert Irwin, Carl Andre and Maria Nordman dominated this museum. Under the direction of Mark Rosenthal, the “Space As Support” program seems very much an attempt at positive

Aggressive, overbearing and inappropriate for the viewing of most art, the University Art Museum in Berkeley functions in the anti-art architectural tradition of the Guggenheim. The cast concrete, bunkerlike edifice holds six galleries whose bays project over a vast central exhibition hall. Ramps rising upward connect the gallery spaces that surround the central area.

For six consecutive months installations by Daniel Buren, Robert Irwin, Carl Andre and Maria Nordman dominated this museum. Under the direction of Mark Rosenthal, the “Space As Support” program seems very much an attempt at positive

Aggressive, overbearing and inappropriate for the viewing of most art, the University Art Museum in Berkeley functions in the anti-art architectural tradition of the Guggenheim. The cast concrete, bunkerlike edifice holds six galleries whose bays project over a vast central exhibition hall. Ramps rising upward connect the gallery spaces that surround the central area.

For six consecutive months installations by Daniel Buren, Robert Irwin, Carl Andre and Maria Nordman dominated this museum. Under the direction of Mark Rosenthal, the “Space As Support” program seems very much an attempt at positive

Aggressive, overbearing and inappropriate for the viewing of most art, the University Art Museum in Berkeley functions in the anti-art architectural tradition of the Guggenheim. The cast concrete, bunkerlike edifice holds six galleries whose bays project over a vast central exhibition hall. Ramps rising upward connect the gallery spaces that surround the central area.

For six consecutive months installations by Daniel Buren, Robert Irwin, Carl Andre and Maria Nordman dominated this museum. Under the direction of Mark Rosenthal, the “Space As Support” program seems very much an attempt at positive