new-york

View of “Wade Guyton OS,” 2012–13. From left: Untitled, 2006; Untitled, 2005; Untitled, 2010; Untitled, 2006; Untitled, 2006.

Wade Guyton

Whitney Museum of American Art

View of “Wade Guyton OS,” 2012–13. From left: Untitled, 2006; Untitled, 2005; Untitled, 2010; Untitled, 2006; Untitled, 2006.

THE LOGIC OF THE MODERN ERA demands revolutions: decisive ruptures that enable sweeping paradigm shifts and the introduction of new ways of seeing. In hindsight, such ruptures can often be seen as the outcome of periods of transition, those interregnums that are not dominated by a prevailing narrative and thus allow for an atmosphere of indeterminacy and openness, in which antithetical motives and genealogies can suddenly and surprisingly be connected with one another. Jasper Johns, for example, was buoyed by such a historical constellation: The speed with which his institutional breakthrough occurred in 1958 is matched only by the difficulty of his historical categorization to this day. His work looks back to one period as it looks forward to another, and it is tied as much to European modernism as it is to Abstract Expressionism, neo-Dada, Minimalism, and Pop. This intermeshing

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