ROBERT RAUSCHENBERG'S multifarious art was driven by a restless, self-critical inventiveness that he sustained across an uncommonly long and productive career. This full retrospective at Tate Modern, curated by Achim Borchardt-Hume and Leah Dickerman and covering all six decades of the artist’s practice, came nine years after the artist’s death and nearly forty years since his last major show in the UK, a surprisingly extended absence for such a canonical figure. The exhibition therefore stood as both a rare opportunity to see the full range of Rauschenberg’s work for the first time in this country and a major curatorial statement on his practice.
This was, more or less, a conventional monographic show, and was thus subject to the well-understood risk of the formatnamely, its implicit bias toward emphasizing isolated artistic exceptionality. Yet the curators made a sustained
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