Untitled

Between 1959 and 1967 Lee Bontecou made a large number of wall-mounted metal and fabric abstract relief works that were unlike anything then being produced by her peers in New York. The reliefs varied in size...

Judd said that he came close to writing actual art criticism only once, as opposed to his usual review articles. That was with “John Chamberlain: another view,” an essay from 1963, and he described how Chamberlain’s excessive crumpling, crushing, folding, and joining made the works seem as if they were continuously changing. He called this quality “superfluidity,” and its senses of “freedom . . . and indeterminacy” are the central characteristics, I shall argue, of credible art. …