Fondacao de Serralves

Without a doubt, the artistic genre that has undergone the most radical transformations in recent decades is sculpture. In the ’60s and ’70s, these metamorphoses were formal in nature and they contributed to what became known as the “expansion of the sculptural field.” In the ’80s and early ’90s, on the other hand, it was sculpture’s role as public art, its relation to social spaces, and to everyday life that was the object of debate.

Because the revolutionary and utopian visions of the avant-garde have yet to be fulfilled, it is necessary to raise the question of sculpture’s place once again. It is this question that Dan Cameron lucidly addressed in “Threshold: Ten American Sculptors,” an exhibition of work by the youngest generation of American artists. For these artists, the “extension” of the sculptural field cannot be resolved simply by adding new “nonsites.” In effect, it seems that

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