A puzzling one-sidedness informs much of what has been written about Daniel Buren since the mid ’60s, puzzling because it corresponds to neither the variability nor the richness that characterize his oeuvre despite the constant recurrence of certain features. Students of his work have preferred to focus on its element of critique, emphasizing its negativity without considering its sensuousness or perceiving the generative power intimately connected with deconstruction. Similarly, Buren’s multidimensional art has often been exposed to one-track interpretation; the subject of his critique has been said to be painting, or the institutions of politics, or the museum. That the losses resulting from such narrow-mindedness are enormous was made obvious by Buren’s La Place des Colonnes, an installation in the “New Gallery” of this museum. Its sensuousness and the richness of its multileveled
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