New York

Robert Barry

Yvon Lambert New York

A dash in the title of Robert Barry’s recent exhibition at Yvon Lambert, “RB 62–08,” might more accurately have been an ampersand. With one exception, the show’s paintings, texts, and photographs date from either the 1960s or the past two years (or both: The diptych 62–08 takes its name from the vintages of its component canvases, and a suite of vinyl phrases applied to the wall was conceived in 1969 and only given form now). Although this still institutionally unsung artist is long overdue for a full-dress retrospective, the lack of material from the intervening decades—wire and thread sculptures that traversed buildings and gallery spaces; projects involving ultrasonic waves, electromagnetic fields, radioactive substances; forays into film, video, and installation—felt in this instance less like a lacuna than a testament to his rigor, so resonant is the early work with the more contemporary.

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