IT HAS BEEN more than fifty years since Donald Judd famously declared “European art” over and done with. The American artist’s pronouncement, voiced in an oft-cited 1964 conversation with Bruce Glaser and Frank Stella and grounded in his perception that the work of the Continent’s painters was woefully mired in the past, marks a particular tipping point in transatlantic rivalries; until recently, a similar bias tended to color most accounts of art since Minimalism. Artists abroad, it was often suggested, simply missed the developments of the 1960s—not least by continuing to paint. Yet the