Essay on Sculpture for E. C. Goossen

Larry Poons’s recollection that “for a moment, everything existed on the same walls” held less true by the spring of 1965. The heterodox situation of 1963 had given way...

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. …