cologne

“Master Works Of Conceptual Art”

Galerie Paul Maenz

The announcement of this exhibition was a surprise, since for this gallery’s opening show in new space the art world had expected an exhibition of the German and Italian painting on which it has so successfully focused in the last few years. Instead, we saw a reconstruction of the artistic situation of the ’70s, during the first period of the gallery’s activity: an ensemble of conceptual works of art, documenting one of the most important instances of radical change in art since 1945. The penetration of the visual arts by language and the process of the “dematerialization of the art object,” as Lucy Lippard called it, was exemplified in the presentation of works that may be considered basic models of the conceptual attitude. Thus we found Joseph Kosuth’s One and Three Chairs, 1965, Neon Electrical Light, 1965–66, and Floor—A Description, 1966; Art & Language’s Lexical Items, 1973; Robert

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