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View of “Supports/Surfaces,” 2014. From left: Daniel Dezeuze, Echelle de bois souple (Flexible Wood Ladder), 1974; Marc Devade, Untitled, 1967; Marc Devade, Untitled, 1967; Louis Cane, Toile découpée (Cut-Out Canvas), 1970. Floor: Patrick Saytour, Untitled, 1974.

“Supports/Surfaces”

CANADA

View of “Supports/Surfaces,” 2014. From left: Daniel Dezeuze, Echelle de bois souple (Flexible Wood Ladder), 1974; Marc Devade, Untitled, 1967; Marc Devade, Untitled, 1967; Louis Cane, Toile découpée (Cut-Out Canvas), 1970. Floor: Patrick Saytour, Untitled, 1974.

“Is Supports/Surfaces a group or a movement?” asks Rachel Stella in the catalogue to this exhibition. “The boundaries remain indefinite,” responds Bernard Ceysson, whose French gallery copublished the volume with Canada, but the core was a “theoretical debate, which took place among a number of artists over a period of time in various manifestations.” The artists were French—mostly from le Midi rather than Paris—and the time was the late 1960s through the ’70s; the manifestations included not only exhibitions but also publications, including the journal Peinture: Cahiers Théoriques, which ran from 1971 through 1985. In the anglophone world, the movement (if that’s what it is) remains little more than a rumor. The ultimate indignity: It even lacks an English-language Wikipedia page, nor are the artists’ writings included in any of the standard compendia, such as those of

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