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Allan Kaprow and his son in the original Yard, Martha Jackson Gallery, New York, 1961. Photo: © Ken Heyman/Woodfin Camp, New York.

“Allan Kaprow: Yard

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Allan Kaprow and his son in the original Yard, Martha Jackson Gallery, New York, 1961. Photo: © Ken Heyman/Woodfin Camp, New York.

“REARRANGE THE TIRES.” The repeated command, its authority bolstered by the familiar-sounding intonations of an Obama impersonator, was part of the sound track for William Pope.L’s 2009 reinvention of Allan Kaprow’s 1961 Yard—two proper names now attached to a pile of tires occupying the same town house on New York’s Upper East Side where the Martha Jackson Gallery hosted Kaprow’s original intrusion. The first version of Yard got its name from its outdoor location, in a courtyard that Kaprow filled with tires after covering over the modernist sculptures already on site. Many subsequent versions were to follow, adapted to changing circumstances. During his lifetime, Kaprow insisted on reconceiving his environments each time they were shown, reflecting his own evolving interests and occasionally putting him at odds with curators intent on presenting historical work. Since his

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