New York

Öyvind Fahlström, Sitting . . . Blocks, 1965–66, ten cubes, tempera, vinyl, wood, each 15 × 15 × 15", overall dimensions variable.

Öyvind Fahlström, Sitting . . . Blocks, 1965–66, ten cubes, tempera, vinyl, wood, each 15 × 15 × 15", overall dimensions variable.

Öyvind Fahlström

Venus Over Manhattan

Öyvind Fahlström (1928–1976) figures prominently in the unwritten histories of Pop and Conceptual art. Relegated to the margins of these major movements, he remains a footnote, which is curious given how deftly he juggled institutional critique with game theory, comics with front-page news. An exhibition of key works at Venus Over Manhattan begged the question: How does a significant and prolific artist get shunted to the sidelines? In Fahlström’s case that dismissal had everything to do with how truly radical he was. He belonged everywhere and nowhere at once: Brought up in both Brazil and Sweden, he moved to New York in 1961. Working as an artist and critic (while engaging in other pursuits), he was committed to the democratization of art, to social and political engagement, to intellectual rigor and play. Had cancer not killed him at a relatively young age, Fahlström would surely have

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