East Hampton

Roy Lichtenstein

Guild Hall

This exhibition of Roy Lichtenstein’s sculptures posited the success the artist—primarily a painter—has had working in three dimensions throughout his career. Arranged chronologically, the exhibition brought a lot of work into a limited space, perhaps to the detriment of the objects, which, despite their brightness and clarity of line, seemed fussy and baroque—but there may be more to this than the simple placement of the work.

Lichtenstein, now an éminence grise in the art world, seems to have been refining the same set of ideas throughout his career, and while the work has grown in finish and craftsmanship, it doesn’t seem very exciting: whatever real fascination with form and materials once existed is now gone, replaced only by cheery tinkering.

Despite the primary colors and familiar ’60s icons—coffee cups and mannequins, airplanes and explosions—the overall feeling of this exhibition

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