New York

John Cage

Christine Burgin Gallery

It takes a show of such integrity and grace as this modest exhibition to reinstill one’s faith in the possibilities of greater articulation and expansion an artist may find in another discipline. John Cage here displayed the fruits of two conceptually related but procedurally different series. “Mesostics re: Merce Cunningham,” 1971, consisted primarily of some of Cage’s compositions of word/form-interplay poetry from his book M: Writings ’67–’72, nicely framed and posing as word art. The more visually stimulating language/ sculpture/silkscreen hybrid “Not Wanting to Say Anything About Marcel” was a set of eight “plexigrams” from a signed and numbered edition of multiples Cage had fabricated in 1969 in conjunction with Calvin Sumsion.

In “Not Wanting to Say Anything About Marcel,” the effort Cage invested in making exquisitely seductive these art objects of an elaborately contrived and

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