Milan

Mario Merz

Galleria Christian Stein | Milan

Mario Merz’s installation here consisted of two large pieces: on the wall, a sequence of three paintings in blue and black, connected to the floor by a series of neon Fibonacci numbers that could be seen through three pieces of glass; and across from the wall piece, a glass and iron table that described a curve around a column of the gallery. At the center stood three iron tubes gripped around a bottle and some neon filaments.

Usually Merz is affirmative—he charges his materials and exalts the place where he has composed his groupings. Not so here, where the atmosphere was quiet and not at all aggressive; instead of vivid exaltation, one sensed a slow, sliding movement from all directions. Merz seems to be working primarily in the arena of dream and reflection—not dream in the Freudian sense, but as a zone where certain thoughts become closed off, passing from the rational region to a

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