new-york

Kim Fisher

John Connelly Presents

Writing in 1967, at the height of Minimalism, Clement Greenberg worried that the aesthetic field had devolved into a diffuse and unmotivated panorama of “non-art” and design, a pernicious development that the then-embattled critic understood as an unmitigated and unilateral abjuration of tradition. Commensurate with a descent of advanced art into the popular, Minimalism for Greenberg precipitated a situation in which anything could become readable as art, if not necessarily (or likely) good art. The name he gave this phenomenon was “novelty,” an ironic if elegiac reference to style, ephemeral trends, and the fickleness of taste set against the pure presence of the bounded artwork.

For Kim Fisher, such a prehistory is at once assumed and transvalued; novelty here becomes a given, while Minimalism is less a passing fancy than a vernacular mode. In her first solo show in New York, the artist

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