Mel Bochner

Marc Selwyn Fine Art

Situated somewhere within the overlapping boundaries of Conceptual, Minimalist, and post-Minimalist practice, Mel Bochner’s career has, in recent years, proven remarkably susceptible to critical and historical reevaluation, primarily through theme-driven exhibitions. In 2002, Bochner’s photographic work of the late 1960s was pulled into the spotlight after many years of neglect, and in 2006, his deployment of language provided the framework for a career-spanning survey. Taken together, these strands suggest a practice far more varied and fluid than has so far been accounted for. Now, with a relatively small exhibition of a Bochner wall painting, Two Shapes, 1976/2008, and a number of related works on paper from the 1970s at Marc Selwyn Fine Art, yet another facet of the artist has emerged for reconsideration—in short, one that eschews language in favor of color and geometric and pictorial

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