reviews

“The Third Mind”

Palais de Tokyo

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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