Recent exhibitions at the Palais de Tokyo have made it their task to reveal marginalized or undervalued historical figures. Ugo Rondinone’s selection of thirty-one artists for his exhibition “The Third Mind” continued this program of rediscovery, mingling contemporary and historic works in a series of visual dialogues made by groupings of works.
Of the thirteen such conversations comprising the exhibition, several stood out. The proto-Minimalist artist Ronald Bladen was described by James Meyer in this magazine in 1999 as a “somewhat obscure figure”—this certainly remains the case in Europe. His unforgettable Cathedral Evening, 1971, a black portal with a sheer jutting architrave, dominated the largest room in the exhibition and created a dynamic severity around which Nancy Grossman’s frighteningly cool leather-masked heads and Cady Noland’s silk screen–on-aluminum cutouts of images from
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