New York

Dan Flavin

Guggenheim Museum SoHo / Dia Center for the Arts

The recent exhibitions at the Guggenheim SoHo and Dia together comprised a good overview of Dan Flavin’s activity from the early ’60s to the late ’80s. While Dia’s presentation of its Flavin holdings included several remarkable works—numerous versions of his “monuments” for V. Tatlin; 1964–68, two rooms of corner works in different hues; and the all-red monument 4 those who have been killed in ambush (to P. K. who reminded me about death), 1966, that once dominated the back room of Max’s Kansas City where Robert Smithson and Andy Warhol held court—the Guggenheim installation, culled from the vast collection of the artist’s work purchased some years ago from Count Panza di Biumo, was the best New York show of Flavin in years.

This comes as something of a surprise. Until now, the Guggenheim’s exhibits of its Panza holdings, and of Minimal-type work in general, have been disappointing. The

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