Gary Kuehn, Saw Horse Piece, 1967, fiberglass, wood, 24 1/2 x 120 x 26".

Gary Kuehn

Joe Sheftel Gallery

Gary Kuehn, Saw Horse Piece, 1967, fiberglass, wood, 24 1/2 x 120 x 26".

Despite their well-documented fascination with architecture, most Minimalists seem to have been surprisingly squeamish about what could literally be described as the nuts and bolts of construction. Even the most detail-minded viewer of the early-1960s sculptures of Donald Judd, Robert Morris, or Carl Andre would be hard-pressed to find evidence of nails or screws; everything is loose stacks or mitered corners and polished metal. Repudiating the Abstract Expressionist legacy of emphatically subjective formal composition, these artists emphasized the cohesiveness of their simple, straightforward objects, eliminating any trace of the internal divisions or part-to-part relationships that might betray a compositional intent. Yet in 1965, the same year that Judd, in his famous manifesto “Specific Objects,” warned that the all-important unity of an artwork might be “diluted” by the

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