New York

Robert Delford Brown

Phyllis Kind Gallery

I don’t know exactly what to say about Robert Delford Brown’s work. I do know that it moved me, but in a funny way that had more to do with my respect for personal indomitability than with art appreciation. The show was billed as a retrospective (“survey” would, I think, have been a more accurate tag), and contained drawings, watercolors, photographic documentation of environmental/performance pieces, hand-tinted photographic enlargements, ceramic wall reliefs, and papier-mâché mobiles. All told, twenty years worth of lopsided eccentricity. For what is instantly remarkable about the work is just how little it has to do with any movement one might associate with the period in which it was generated. Nor is there any real interconnectedness within the work itself, other than the kind of Pentecostal Dadaism manifested in Brown’s role as the founding father of the First National Church of the

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