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View of “Materializing ‘Six Years’: Lucy R. Lippard and the Emergence of Conceptual Art,” 2012. Top: Alice Adams, Big Aluminum, 1965.

“Materializing ‘Six Years’: Lucy R. Lippard and the Emergence of Conceptual Art”

View of “Materializing ‘Six Years’: Lucy R. Lippard and the Emergence of Conceptual Art,” 2012. Top: Alice Adams, Big Aluminum, 1965.

AS ARTISTS OVER THE PAST DECADE have revisited earlier works of art—whether to interpret them anew, test their methods of production, or engage their liveness and mediation—curators have likewise revived landmark exhibitions to reassess their effects on the expansion of artistic and curatorial form. “Materializing ‘Six Years’: Lucy R. Lippard and the Emergence of Conceptual Art,” curated by Catherine Morris and Vincent Bonin at the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art, examines the birth of Conceptualism using Lippard’s Six Years: The Dematerialization of the Art Object from 1966 to 1972 as a chronological structuring device. Devised as an exhibition in a book, Lippard’s legendary 1973 compendium gathered fragments of writings, photographs, quotes, and citations to survey Conceptualism’s manifold origins.

While paying homage to Six Years

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