New York

“Freeing the Line”

Marian Goodman Gallery | New York

The freeing of the line to which the title of this elegant show refers is “the departure of the line from the paper surface and its venture into space.” The word paper signals that Catherine de Zegher, former director of New York’s Drawing Center, was thinking, indeed, about drawing in this show of largely three-dimensional art, and the linearity of the work she chose was unmistakable. The first piece viewers came to was Richard Tuttle’s Untitled, 1972, in which lengths of wire stretched between nails in the wall form an obliquely oriented cross. Next came Gego’s hanging column and sphere, from the mid-’70s, made of steel wires clasped in geometric but irregular configurations, in a fine play of impulse and logic; and then works by Karel Malich, also hanging, also from the mid-’70s, suggesting, perhaps, Saul Steinberg drawings realized as Alexander Calder mobiles. Joëlle Tuerlinckx, with

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