new-york

Judy Pfaff, There Is a Field, I Will Meet You There [Rumi], 2014, steel, Plexiglas, fluorescent lights, plastic, expanding foam, dimensions variable.

Judy Pfaff

Loretta Howard Gallery/Pavel Zoubok Gallery

Judy Pfaff, There Is a Field, I Will Meet You There [Rumi], 2014, steel, Plexiglas, fluorescent lights, plastic, expanding foam, dimensions variable.

A half century ago, the time-honored distinctions between painting and sculpture surrendered to the forces majeures of Minimalism, Conceptualism, and their offspring. Judy Pfaff’s two-gallery exhibition reminded us of that moment in the 1960s when young artists, cued by Eva Hesse, smashed those mutually defining species together to form a single pictorial/sculptural continuum. Some five decades later, Pfaff remains the exemplary figure—the last artist of this type still standing as others (notably Lynda Benglis) have reverted to a sculpture of autonomous objects. Pfaff’s recent installations and smaller wall reliefs at Loretta Howard and Pavel Zoubok not only underscored the primary rank of the artist but also highlighted the enthusiasms of the particular dealers in question: the one for heroic scale and go-for-broke fearlessness, the other for the more placid joys derived

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