TUCKED AWAY IN A SIDE GALLERY of P.S. 1 Contemporary Art Center, the nine panels of Lutz Bacher’s obscure but essential early work The Lee Harvey Oswald Interview, 1976, constituted the core of her first museum retrospective. Intended as a publication maquette, the original pasteup (owned by the Metropolitan Museum of Art) is composed of eighteen 8 1/2 x 11“ sheets of paper collaged with xeroxed photos and texts, typed text on notebook pages, handwriting, and tape; in the version exhibited here, these pages were reproduced as photostats on nine 20 x 24” panels. The look is stark and fragmentary.

“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